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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library

9-1-1934 Volume 52, Number 09 (September 1934) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 52, Number 09 (September 1934)." , (1934). https://digitalcommons.gardner-webb.edu/etude/826

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^MSDhEomecom- J»} $2.25 THE ONE HUNDREDTH ANNIVER¬ MME. MARGARETE OLDEN, formerly THE SECOND HIGH SCHOOL MUSIC HENRI RABAUD’S new opera, “Rolande SARY of the birth of Eben Tourjee, founder of the State Opera of Berlin, and who spent FESTIVAL of the Philadelphia area was held et le Mauvais Garqon (Roland and the WOM AN’USDW0RLD of the New England Conservatory, was cele¬ || $irjo last year in America, recently broadcasted a on May 25th at Temple University, under Rascal) ” has had a successful performance at Regular price brated on June 1st, with a concert in Jordan program of American Songs from the German the leadership of Minerva M. Bennett, Di¬ the Paris Opera. Rabaud is the present direc¬ THE ETUDE Hall, conducted by Wallace Goodrich. On capital. These programs of the Reichsrund- rector of Music in the Teachers College of tor of the Conservatoire Nationale de Musique BETTER HOMES AND the program were He Watching over Israel, funk Gesellschaft may be picked up from Temple University and Dr. Frances-Elliott GARDENS . of Paris; and his “Marouf” has held its place $2.25 from Mendelssohn’s “Elijah,” and Nicolai’s nine-thirty till twelve of the evening, on the Clark, eminent worker for musical education m the repertoire of the Opera as well as having A Mighty Fortress is Our God (a festival short wave broadcasts. in America and founder of the National been widely produced outside of France. The THE ETUDE work for chorus, orchestra and organ) which Supervisors Conference. The movement has libretto of the new opera is b* Lucian Nepoty PATHFINDER . :::* Dr. Tourjee conducted at the Boston peace GUGGENHEIM FELLOWSHIP awards proven a great stimulant for the development |) $2.25 amounting to about two thousand dollars and deals with the escapades of a Queen, bored Regular priee Jubilee of 1869. of solo and small ensemble singing in the by court life, and a romantic youth of her THE ETUDE each, have been granted recently to William day school, as was shown by a Male Quartet country retreat. OPEN ROAD (2 YEARS) ;; $i VIRGINIA COMPOSERS’ WORKS filled Grant Still and Douglas Stuart Moore, Amer¬ ?) $2°20 from Reading whose work registered easily •3—--- Regular price a program of the Virginia.State Choral Festi¬ ican composers. in the professional class. “ZOO” OPERA becomes popular in The val held from April 26th to 28th, at Char¬ Buckeye State. The Cincinnati Civic Opera AfliRE|CANEGiRL lottesville. THE EMIL HERTZKA MEMORIAL AUSTRIAN COPYRIGHTS of music have Association has been formed to continue opera J) $2°60 PRIZE, for short works for an orchestra of been extended from thirty to fifty years after T 0 J Save 90c at the Cincinnati Zoological Gardens; and on FRIEDRICH SMETANA is to have his medium proportions, has been awarded in the death of the composer. June 30th and July 1st “II Trovatore” was THE ETUDE $2 01 Both Vienna, on the second anniversary of the AMERICAN BOY memory honored by a monument to be placed, ■a-8- presented at the Columbus Zoological Gar¬ J $2.50 on the fiftieth anniversary of his death, in death of Emil Hertzka, founder and director GUSTAV HOLST, celebrated English com¬ Regular price dens, by the Civic Opera Company of the front of the National Theater of Prague, the of the Universal Edition. The successful poser, died May 25th, in London. Born in capital city. composers were Karl Alfred Deutsch, of Cheltenham, England, September 21, 1874, parents°magazine: Czechoslovakian capital. !} $2/75 Paris; Josef Matthias Hauer and Otto Jokl, of distant Swedish origin, he was educated at DR. T. TERTIUS NOBLE, organist of St. of Vienna; and Viktor Ullmann, of Prague. the Royal College of Music, and early at¬ THREE THOUSAND SINGERS, from Thomas’ Church of New York, is leading the THE ETUDE tracted notice as a composer, conductor and performance of one of his own works at the LIBERTY (Weekly) forty-eight choirs of the East and Middle DUSOLINA GIANNINI won an ovation teacher. Among many successful works in ° $3/25 West, participated in the Talbott Festival, Gloucester (England) Festival, on September ~Ti from a capacity audience, when, on June 5th, many forms, his opera, “The Perfect Fool,” second. Thus, though he has given so much held on June 7th, 8th and 9th, at the West¬ she made her debut in Vienna, in the title role probably attracted most attention. He came minster Choir School of Princeton, New of service, especially to our American church THE INSTRUCTOR of “Ai'da,” at the State Opera. to conduct the American premiere of his music, he knows the joy of being still appre¬ 4 !j $£so Jersey. •S-—!> Regular price •a—-*—tr “Hymn of Jesus” at the Ann Arbor Festival ciated on his native soil. THE WOMAN’S SYMPHONY ORCHES¬ of 1923, and was here again in January of TH E ETUDE A BUSINESS MEN’S ORCHESTRA of TRA of Chicago, with Ebba Sundstrom con¬ COLLIER S WEEKLY 1932, as guest conductor of the Boston Sym¬ THE BERLIN PHILHARMONIC OR¬ If $3135 Chicago, with one hundred members (all ducting, gave two concerts daily, from June phony Orchestra. amateurs), gave a concert on May 23rd, at 7th to June 13th, as a feature of the opening CHESTRA, with Wilhelm Furtwangler as THE ETUDE Orchestra Hall, with Clarence Evans conduct¬ of the Ford Gardens of the Century of Prog¬ conductor, opened the grande season of the NATURE MAGAZINE A BACH-HANDEL FESTIVAL, commem¬ ! $3/75 ing. The “Symphony in E minor, No. 5” of ress Exposition. early summer in Paris, with two concerts at j Tschaikowsky was the chief orchestral offer¬ orating the two hundred and fiftieth anni¬ the Opera. Both the conductor and the or¬ ing ; and Margery Maxwell was soloist. And WILLIAM ANDREWS CLARK, JR., versary of the birth of these two masters, is chestra were enthusiastically welcomed chiEldTuf! . did someone say the American business man lover and patron of music, died at Salmon planned for next year, by the Oratorio Society •3- --». || $4*00 of New York, Albert Stoessel, conductor. Regular price. does not care for music? Lake, Montana, on June 14, at the age of MRS. SARAH ROBINSON-DUFF, widely THE ETUDE fifty-seven. He had given about three mil¬ known voice teacher, died on May 11th, in COSMOPOLITAN . lion dollars to the support of the Los Angeles GIOVANNI MARTINELLI, long a popu¬ New York City. After finishing her studies || $4fio GUNTHER RAMIN, organist of the lar Italian tenor of the Metropolitan Opera Regular price Thomaskirche of Leipzig, enshrined in musi¬ Symphony Orchestra, of which he was the with Mme. Marchesi in Paris and George founder and sole patron. His gifts to philan¬ Company, sang for the first time in Florence Henschel in London, she, in 1893, began her • $2.( cal history by the long service of Johann goodEhouIekeeping thropies while living were more than twice of his native land, when, in May, he was the teaching career in Chicago, where her first || $4!io Sebastian Bach, and himself one of Germany’s Don Alvaro (historic Caruso role) in a per¬ leading concert organists, will tour America the value of his estate at passing; though his pupil was Mary Garden at sixteen years of age. will included a bequest of more than five mil¬ formance of Verdi’s “La Forza del Destino,” Other famous pupils of Mrs. Robinson-Duff . $2.(1 from September 28th till November 16th. at the Teatro Comunale. AM ERE CAN "MAGAZINE lion dollars to the University of California, in have been Olive Fremstad, Frieda Hempel, r $£io the nature of his residence, library, observa¬ DANIEL GREGORY MASON was hon¬ Jessie Bartlett Davis, Alice Nielson, Nora tory, rare books and other treasures. ■THE SYMPHONIC ORCHESTRA of Bayes and Mary McCormic. ored, on the evening of May 10th, when a ■3-,---8. Budapest visited Rome for a concert on May program of his compositions was given at the THE NATIONAL FINNISH ORCHES¬ 7th, at the Augusteo, with the baton in the THE ALEXANDRIA SYMPHONY OR¬ B GAREDENS°M ES AND . . 0° $3.00 Casa Italiana (Italian House) of Columbia TRA, with Georg Schneevoigt conducting, re¬ hand of its conductor, Massimo Freccia. University, New York, in recognition of the CHESTRA, with Joseph Huttel conducting, Regular price $4.0 0 Save $1.00 cently gave three concerts in London, with twenty-fifth anniversary of his appointment works by Sibelius occupying places of honor. makes Historical Concerts” a part of each THE ETUDE . $2.0 0] All ERNEST LEE BOLLING, widely known season, for the purpose of introducing music to the faculty of this eminent school. ■3-8. Virginia musician, composer and teacher, died PICTORIAL REVIEW '. ‘ r.o MAURICE RAVEL has been appointed hitherto unheard, or but little known, in 0 $3.00 on June 26th, at Richmond. A direct de¬ Egypt. GEORGES BARRERE, director of the Fontainebleau School of Music, scendant of Pocahontas, his musical education the eminent flutist and to succeed Charles Marie Widor, who has was finished under Bernard Courlaender, - - MccEall’sDE :Vo 8] A" teacher, received on May retired. Also Robert Casadesus has become pianist to the King of Denmark. He was the THE FIRST PRIZE of Wpanio’n H°ME C0M' 0 $3.00 27th the Cross of a Cheva¬ head of the piano department, since M. Isidor author of several hundred musical composi¬ five hundred dollars, in the lier of the Legion of Honor, Philipp’s retirement. tions, of many published poems, was a friend competition organized by the Daily Telegraph of which was presented by THE FAMOUS CONCERTGEBOUW (or¬ of our late Theodore Presser, and a valued Comte Charles de Ferry, contributor to The Etude. London, for an orchestra 1 Subscriptions may b chestra) of Amsterdam, Holland, will have work, has been won by 1 consul-general in New Bruno Walter, Willem Mengelberg and I nerval. Prices DO 1WOTinllude York, in the name of the THE TRIENNIAL SMETANA PRIZE of Cyril Scott, for his Festival Canadian or Ford. Edouard van Beinum as its conductors for Overture. The second prize French Government. This the coming season. Hermann Scherchen will fifty thousand crowns (about ten thousand presentation was a feature dollars) has been assigned by the Czecho¬ of three hundred and appear as guest conductor. seventy-five dollars went of a ceremonial banquet, slovakian Government to Dr. Josef Zuk, the given by Mr. Barrere’s friends, at the Hotel composer. to Frank Tapp, for his JOSEPH SCHUBERT, one *of the only Overture, “Metropolis”; Lafayette; at which Dr. Walter Damrosch, two known surviving relatives of Franz Schu¬ who brought this famous artist to America, and the Concert Overture, No. 1 of Arnold The Etude bert, died lately in a Village of Czechoslovakia. SIR HENRY WOOD was the conductor Cooke won the third prize of two hundred in 1905, as first flutist of the New York Sym¬ The last one of this family remaining is leader for the first two weeks of the Hollywood and fifty dollars. phony Orchestra, was the principal speaker. of an orchestra in the Argentine Republic. Music Magazine Bowl concerts, which opened on July tenth. (Continued on page 564) 1712 Chestnut St.. Phila.. Pa. MUSIC AXIOM FOR SEPTEMBER WITH AUTUMN LET US MORE OF MUSIC MAKE! MUSIC STUDY EXALTS LIFE THE ETUDE Page 506 SEPTEMBER 1934 The Etude Historical Musical Portrait Series An Alphabetical Serial Collection of TDiventy'Lohree Qents a Lesson THE WORLD'S BEST KNOWN MUSICIANS

J ^HEN YOU GO to the British Museum, your guide Paderewski were teaching), we would not feel it an exaggera¬ I 0 J Prc,bably will take you to the Gold Room where tion if we were to say that one thousand times the amount VJL/ stands one of the rarest objects in the world. It is would prove a good investment—entirely from the business an indescribably exquisite vase of dark blue glass adorned with standpoint. figures cut in cameo style in an outer layer of opaque white glass. What! Two hundred and thirty dollars a lesson? Surely The vast skill of the makers of this ancient Roman relic—found, no teacher can give that much instruction in an hour? Cer¬ during the Pontificate of Urban VIII (1623-44), in a marble tainly not. There is, however, a publicity value in studying sarcophagus—is immediately apparent to the amateur museum with a great master, such as Hofmann, Zimbalist, Sembrich, or visitor. The remarkable thing about the vase (now known as other artists of renowned careers, which is entirely apart from the Portland Vase, because it was the value of the instruction received. once owned by the Portland family), This publicity value is of unques¬ is that, so far as is known, it is the tioned business importance to the finest specimen’ of its kind in the student, as a professional asset. world. Its value is so great that, if When Leopold Auer charged sixty it were placed upon the market, its dollars a lesson, no worthy student price would be fabulous. who paid that amount made an ill- This Portland Vase is one of the advised investment. We assume, of best illustrations of the law of sup¬ course, in this connection, that all ply and demand. A carpet tack is students are primarily inspired with very cheap, for instance, because the ambition to attain the highest there are millions of the identical artistic perfection. thing obtainable. There is another great lesson in In the workings of supply and de¬ Mr. Paderewski’s humble fee at mand there is a great lesson for the Warsaw. The teacher who has the teacher of music. The teacher’s good sense to adjust his fees to the lessons are really a part of himself. times and the conditions under Because of this he is entitled to be which he is obliged to work, should paid in proportion to what may be realize that, with the changes that the value of his acquisitions. The come to all who labor hard and in¬ lessons are not as valuable as he is, telligently, his income in the future but rather as valuable as the public may be greatly multiplied. The thinks he is. That is an important main thing is not to look down on point. The public buys the teacher’s what you are doing, or the amount teaching ability, plus his reputation. you are receiving, but to endeavor The Portland Vase, for instance, in to give the same kind of lesson you addition to its intrinsic beauty, has would expect to give if you were gained immense reputation through receiving ten times that amount. the millions who have admired it. Once when we were visiting If a similar work of art were, to be Louis Lombard in his fabulously discovered today, it would probably magnificent palace at Lugano, the take, many years before it could ac¬ brilliant French-American musician quire a value comparable with that pointed to a stone wall in the gar¬ of the Portland Vase. den and said, “That is the most val¬ In the excellent and comprehen¬ uable thing we have. It was made sive new biography, “Paderewski— by Benito Mussolini, with his own THE PORTLAND VASE The Story of a Modern Immortal,” hands, when he was a stone mason.” by Charles Phillips (The MacMillan When Mussolini was making that Company), the great pianist is quoted as saying to the New wall, he was building with the same thoroughness and vigor that York Music Teacher’s Association: carried him to the heights of the Italian Government. The idea “My pianistic wisdom was available in Warsaw, to private he had at the moment was, undoubtedly, to make the best wall pnpils, at the handsome rate of twenty-three cents an hour.” in the world. Never be ashamed of your work, no matter how This of course was a price very remote from the real value of humble it may be. Dvorak was not, when he played in cafe his services. In the period of his inspired youth, he must have orchestras. been a remarkable teacher. Like Liszt and Rubinstein, Paderew¬ Richard Wagner, when he was a young man in Paris, spent ski has made a place for himself as one of the very greatest considerable time in the making of arrangements of trite com¬ pianists of history. In addition to this, his distinctive person¬ positions. Even a manuscript copy of one of those works, in ality is so extraordinary, his activity so vast, his mentality so Wagner’s own handwriting, would today bring a fancy figure forceful, and his handling of affairs, as Fate has confronted him at any antiquarian shop. But, while Wagner was working as with them, so noteworthy, that he has become one of the great a hack, he never lost his ideals. Do not be ashamed of any figures of history. Thus, there is only one Paderewski, and work you may be temporarily obliged to do. Be ashamed only there will be but one Paderewski in history; just as there will when it is not done up to your very best capabilities. If be only one Josef Hofmann, one Rachmaninoff, one Gabrilo- Wagner had allowed hack work to become his ideal, his man¬ witsch, one Bauer, one Grainger, one Gieseking, one Iturbi. uscripts would now be worth no more than wrapping paper. As the supply becomes more and more limited, the services of an Ideals, and ideals only, combined with energy and practical individual become more and more valuable. If a student, who knowledge, are the basis of artistic creation. studied with Paderewski at twenty-three cents a lesson, had This, then, is the inspiration of the Portland Vase—to strive had the advantage of studying with him later in life, when to make your work so fine and so individual that it cannot help he had accumulated greater life experience, he would have been commanding the attention and the enthusiastic approval of as fortunate if he had secured his instruction at one hundred times many people as possible. Until you have this ideal continually that amount. However, plus Paderewski’s great reputation (if before you, you have not made the first step toward real progress

THE ETUDE SEPTEMBER 1934. Page 507 THE ETUDE SEPTEMBER 1934 Page 509

CHEMISTRY AND MUSIC THE ADVENT OF THE PIANO (7® he Etude has frequently called attention to the fact that ‘Music Study for Adults 'X'TO ONE KNOWS exactly when the piano (originally the Omany of the greatest men in all professions have also had J X. fortepiano and then the pianoforte) was invented. Credit was given to Bartolomeo Cristofori of Florence (1665-1731); fine musical training. Among the great Russians who have been famous in music but instruments called piano e forte (soft and loud) were re¬ An Illuminating (Conference Secured Expressly for The and in other callings, the name of Alexander P. Borodin is out¬ corded as early as 1598. Of the two examples of Cristofori’s Etude with the looted Educator work, which seemed to be a vast improvement upon any exist¬ standing. His ‘Prince Igor,” upon which he worked twenty ing instruments we may have for comparison, one is dated 1720 years, is one of the greatest of the Russian operas. It was neces¬ (Metropolitan Museum, New York) and the other is dated sary for his friends, Rimsky-Korsakoff and Glazunoff, to finish 1726 (Collection Kraus, Florence). The piano, in the more the score after his death. Dr. Frederick B. Robinson modern sense of the word, is therefore only a little more than To Borodin, who was one of the outstanding chemists of his two centuries old. The violinl as an instrument, is older, of age and the author of a small library of books on chemistry, course, since the Golden Age of the violin makers of Cremona music represented a vital phrase of his life, wholly different PRESIDENT OF THE COLLEGE OF THE CITY OF NEW YORK (THE LARGEST EDUCATIONAL may be said to date from Andrea Amati (b. 1520) to Omobono from his regular professional calling. He found in music some¬ INSTITUTION IN THE WORLD, WITH A STUDENT BODY OF FORTY thing which restored and refreshed his soul after his exhaustive Stradivari (d. 1742). THOUSAND MEMBERS) When the little old instrument now in the Metropolitan labors in the laboratory. In 1876 he wrote to a friend, “When Museum was made, Benjamin Franklin, who was to take such I am so ill I must sit at home, and can do nothing important, an interest in the music of his country, was already fourteen my head splitting, my eyes filled with tears so that every moment I must take out my handkerchief, then I compose music.” At Regular students, looking forward to ever done in connection with a sym¬ years old. One hundred years had passed since New York had an A.B. degree, are all required to phony orchestra. another time he wrote, “I must point out that I am a composer been settled by the Dutch West India Company, and it had take a course in musical history and become a flourishing English colony. In Europe, Bach and looking for something unknown. I am almost ashamed to con¬ DR. ROBINSON’S BUST OF HIS DAUGHTER, appreciation. At the beautiful Skinner Why Brain Senility? Handel were both thirty-five years of age; but the world was to fess to my composing activity. Others have the composition of PATRICIA organ in the really magnificent great WHILE COMMENTING on the music ... the goal of their lives. For me, it is only rest, fun wait twelve years for the coming of Haydn and thirty-six years hall, seating twenty-five hundred, regu¬ capacity of adults to take up new and nonagenarians in spirit who have never which takes time from my serious business as a professor. I am lar recitals are given by the head of activities, Dr. Robinson said: for the coming of Mozart. Editorial Note :—Dr. Robinson ivas seen more than twenty to thirty summers. It is unthinkable that anything will ever take its place. It absorbed in my affairs, my science, my academy and my students. the music department, the famous or¬ “When two years from the century mark, We have a continual parade of forlorn men born in Brooklyn, New York, October ganist, Dr. Charles Heinroth. At the Titian (1477-1576) painted the ‘Battle of is a string instrument played percussively and capable of an Men and women students are dear to me.” 16, 1883. After graduation from the and women who, through their own stupid fine Adolph Lewisohn Stadium, sym¬ Lepanto.’ Michelangelo (1475-1564) at infinite variety of tone gradations. It is the instrument around Scores of men in these days are finding solace and comfort College of the City of New York attitude toward life, have permitted them¬ phonic concerts have been given by the eighty-nine was producing masterpieces that (A.B.) he secured, in 1906, the degree selves to become mentally aged in their which practically ninety per cent of modern musical cultural in music, not to be secured through any other means. Philharmonic Orchestra, during the shamed his younger contemporaries. Verdi of A.M. at New York University and youth. Perhaps the educators themselves advance has crystallized. The violin, for instance, is an instru¬ summer months, since 1921. Among the (1813-1901) wrote a notable ‘Te Deum’ that of Ph.b. in 1907. He commenced are partly responsible for this condition. ment of infinite charm and importance as a solo instrument famous conductors have been Stransky, when he was eighty-five. Tennyson (1809- his career as a teacher in the Public Up to a very recent period, education was and as a member or leader of the orchestral groups, great and Van Hoogstraten, Mengelberg and 1892) gave us his immortal ‘Crossing the WILL MUSICAL GRAFT END School system of New York City, but looked upon by thousands in America as a Hadley. Dr. Robinson’s interest in Bar’ at eighty-three. At the same age small. If, however, the piano were removed as a background . zoos recalled within a year to The City kind of scholastic contraption that was to this work is indicated by the fact, that Cato started to study Greek and Plutarch for violin literature, it is interesting to contemplate what would A NOTICE circulated by Mr. John G. Paine, energetic and College, zvhere he successively served be merely a preparation for life. In truth, he wrote the broadcasting notes for the started the study of Latin at the same remain. The piano is obviously the universal instrument, and *SX conscientious Chairman of the Board of the Music Pub¬ in every academic grade or rank. He life itself is a continuous repetition of symphonic compositions of the initial period of his youth. Yet, we hear almost its advent has affected immensely the entire course of musical lishers’ Protective Association, makes interesting reading. The organised and directed the division of educational experiences; it is really a glori¬ series of concerts for students, held daily, from juveniles of forty or fifty or history. Vocational Subjects and Civic Admin¬ fied school, bringing either tragic melo¬ musical public is generally familiar with the methods used by in the great hall of the college and sixty, the stereotyped remark, ‘I am too istration of the College, which com¬ drama of deadening dullness, or a continu¬ certain popular publishers to “plug” songs and “numbers” as in Carnegie Hall. This is believed to old to do that.’ manded wide attention among educa¬ ously thrilling pageant of delightful days. ENJOY YOURSELF they are called. In other words, songs have been forced upon have been the first work of this kind “Not that there are not octogenarians tors. Later he became Professor of This is the distinctive .conception which the public because their publishers had enough confidence in SOME Samuel Butler wrote: “All of the animals, excepting man, Economics and Dean of the School of motivates the modern art of learning. know that the principal business of life is to enjoy it.” them to bribe all kinds of people into singing or playing these Business. He served as a lecturer on “In other words, our whole conception Whether this quotation comes from the Samuel Butler (1618- compositions in public or over the radio. The publisher with the Economic Theory in the Graduate of education at The City College is that it 1680) who wrote the comical Hudibras, or whether it was the most money or the most nerve had his wares exposed to public School of New York University. has direction, but no beginning or ending. Samuel Butler (1835-1902), author of the magnificent “Way of All attention the most frequently, regardless of their merit. That Thereafter, he became the recipient of Age does not figure in my picture of edu¬ Flesh,” makes very little difference; the thought is well aimed and is, many of the publishers entered into a kind of “racket” many distinctions in the fields of edu¬ cation. There are other matters vastly more important than mere years. Until penetrates. through which other publishers and other musicians were com¬ cation and economics, for his scholarly pelled to suffer by neglect. Mr. Paine writes: attainments. In 1927 he became Presi¬ the physical processes of deterioration So many, many people could have a “grand” time, and give dent of the College of the City of New break down the body and mind, so that others a rich measure of beneficent amusement, if they only would York, zvhere he introduced many edu¬ study becomes impossible, education never rid themselves of the pestiferous idea that life is such a sombre and ~-HMwtuwfw, arrtgC7 4 utiu uiner per' cational measures which have brought should stop. The unfortunate individual serious cavalcade that one should be more or less ashamed if one formers will no longer receive compensation from music new renown to this institution, with its who ceases to continue studying any of seeks enjoyment, even in the manner in which the Almighty publishers for the performance of their numbers. vast student body and its unusually the scores of interesting subjects that are intended that we should seek it. “This was the unanimous decision of popular music high academic standards. always inviting those who have the will We have often noted that those who are most successful'are publisher executives at a special meeting held today Fol¬ Dr. Robinson is an extraordinary ex¬ and the energy to study, is doomed to a those who take the most pleasure in their work. We might safely lowing the meeting a pledge was signed to the effect that ample of the theories he has advocated. kind of boredom which carries its own There are fezv men with a well rounded penalties. Money, position, family never say that we have never known a successful performer, composer or the publishers would no longer furnish special arrange¬ aspect of life and living comparable can make up for the ennui which results teacher who did not find more fun in his music than in anything ments or pay, give, furnish, bestow, directly or indirect¬ with that of Dr. Robinson. In addition from intellectual stagnation; joy in life is else. Only the musician knows the exquisite satisfaction that ly, or in any other manner present to any performer, to his brilliant success in the Held of best sustained by the unselfish pursuit of comes from soul expression, as the fingers pour forth their in¬ singer, musician, arranger, or orchestra leader, employed education, he is knozvn as a highly new interests. terpretation of some precious masterpiece or explore the interest¬ by another, or to their agents or representatives, any sum gifted speaker in demand for banquets, ing intricacies of some new work. It is the fun of it that paves the of money, gift, bonus, refund, cut-ins, rebate, royalty, civic and cultural gatherings, and THE IMAGINARY barriers which way to musical advancement. service, favor or any other thing or act of value in order university functions. He has made ad¬ some build because they persuade dresses on different occasions, in sev¬ Years ago we came to know the pianist, Reisenaur. He had to induce such person to sing, play or perform, or to have themselves that they are too old for study, been a Liszt pupil and in his early years had enjoyed great prestige, eral of the foreign languages (German, are really amusing. Some few manage to sung, played or performed any wor\s copyrighted or French, Italian, Spanish, Norwegian). largely because of his giant technic and huge repertoire. He had generate sufficient ambition to make a start owned by us, directly, or indirectly.’ He has zvon a reputation as an etcher played “everywhere” in the world where a pianistic audience could but become so discouraged after a few (this he learned in his spare time one be found. Later in life he permitted his work to become perfunctory “To enforce this pledge the publishers appointed Mr. steps that they stop. It is natural that John G. Paine, Chairman of the Board of the Music summer) and as a sculptor. Realizing and admitted to us that he had come to detest playing of any kind. progress at the start should be slow. If Polishers Protective Association, to receive and investi¬ the importance of music, he taught him¬ a man were to carry his arm in a sling The consequence was that instead of finishing his career with un¬ self fat the age of forty-four) to play for forty years, it naturally would wither. diminished fame, as did his master Liszt, interested to the very end gate all complaints and to appoint an ex-judge of the the violoncello and to play it effectively, Many people with excellent minds have though he makes no pretense of pro¬ in the best in life, his musical light flickered out and is now all but latoremTf?h°Un t0 dfcidf on the g»Ht of the alleged vio- been carrying them in a sling of indolence fessional skill. By persistence and in¬ forgotten. He had lost the art of enjoying himself. for th Jh ^ %CCUSed lsf°»»d guilty he must pay $1,000 for decades. Of course it takes time to tense concentration, in sixty days he Each man after his own way knows what he likes to do best; ton n °lSnT Tdi $2r°00 f°r each additional vio- bring the brain back into action. secured a surprising grasp of the in¬ and, if it does no injury to others, that thing is his legitimate “There seems to be an impression that lersL ?ne trd °[ thlSrfine wiU SO to the person or strument. He is the author of several avenue of pleasure. the child mind is a superior mind and is zvorks, including his well known and the remainder therefore very much more receptive and "Effective Public Speaking.” plastic than that of the older person. Ex¬ Music, at City College, is a very haustive experiments have shown that important factor in the curriculum, al¬ adult minds, in many instances, will pro¬ though there is no course in the prac¬ duce, by test, higher averages than those tical instruction of any instrument. of students in their teens. Thorndike, Dor- There are three symphony orchestras land and others have proven this with regularly in the active study of scores numerous experiments. Therefore, if you ancient and modern, an excellent band, SEPTEMBER 1934. have the ambition to take up a new study, and a drum corps. The students get do not let the ‘Big, Bad Wolf’ of age THE college credit for this ensemble work. frighten you. SEPTEMBER 1934- Page 511 THE ETUDE THE ETUDE Page 510 SEPTEMBER 1934-

Investing Leisure ment is space. Because the musical per¬ HE WIDELY DISCUSSED ‘new former must paint each note in both time What Geography Has to ‘Do with cR}iythm and space, in its exact position, as the ‘tone leisure’ is nothing new to us at The canvas’ demands, the closest possible con¬ City College; because for years, particu¬ larly in our night courses, we have empha¬ centration is required, probably more so sized the possibilities which may come than in any other study. through the profitable employment (let us “The degree of concentration, therefore, United States, we are somewhat mystified finger board, by means of pasting pieces instrument he appreciates more and more that cause the grayness; but we will say north of some bf the Black Sea and Asia ten balls in the air at once, often moving “Once, while at camp in the Adirondacks, and across the Pyrenees into France. Here as to where we can best locate the char¬ of paper to indicate the imaginary frets, fully the art, not only of Kreisler and that all of these have to do with the char¬ Minor. at terrific speed, and making with them all the subject of the ability of a man to do is discovered a different spirit in the rhythm acteristic rhythm of this New World, situ¬ the location of the proper divisions that Casals, but also of masters of other instru¬ acteristic lilt so popular with the Irish com¬ It would seem that the bitter cold of kinds of fanciful, artistic patterns, accord¬ what he aspires to do (within certain lim¬ and a more pronounced definition of chro¬ ated between 30° and 50° longitude. It would produce certain . tones. Then I ments and of conductors and composers. posers, from the time of the English Wil¬ the long winters, the snow, ice and sweeping ing to taste and the canons of art. If the its), irrespective of age, was actively dis¬ maticism in the melodic trend, as compared would seem that all rhythms and melodic learned the fingering carefully and began He becomes an intelligent citizen of the liam Byrd (early 17th century) up to the winds of the steppes, have had much to do rhythm of one ball were to be disturbed cussed by a group of well known persons, with the straightforward declamation of tendencies of the European countries should enthusiastically practicing the exercises. present. with the song of this people. Russia is the whole would be ruined. If the juggler including some distinguished musicians. democracy of music. Furthermore, just as the diatonic outline of Spanish music. be embodied in this vast area. But we find Two months later, in New York, at a his playing leads to new knowledge and No finer example of this rhythmical noted for its persistent use of the minor fails he can go back and try his trick again. My enthusiastic statement that the adult It will be noted also that the inner melody that the matter of latitude creates a vast gathering of my friends, including musi¬ superior taste, so the sympathetic under¬ effect can be found than in the old tune, mode and for its languorous, dull, fascinat¬ The musical performer may never do this. may often excel the youth in such an Wearing of the Green. receives much more attention and that, ing, monotonous rhythms. In its music difference; and, as America lies between undertaking was challenged. The discus¬ cians, I played a program including the standing of the leaders gives him incentive He must be absolutely right the first time. while the monophonic still persists to a we find a mixture of many qualities which latitudinal points not as yet considered, it sion became acute and I suddenly found following: to improve his own performance. He can take no second chance, or the mood certain extent, the polyphonic receives a have seeped over the borders from the would seem that this fact has as much to that I was placed in a position where, in “One who adopts painting as a hobby Ex.l of his interpretatien has been destroyed. Elegie . ..Massenet considerable amount of attention. Further¬ neighboring countries. We feel the quaint do with the matter of rhythm as has lon¬ In sculpture and painting the essential ele¬ order to demonstrate my theories, I was Tre Giorni.Pergolesi sees a greater glory in the setting sun, dis¬ -0, « -k k ■ ft S • h ■■=*=* more, the harmonic scheme is vastly more gitude. covers sweeter curves and more elusive mixture of the Orient and the Occident; Largo .Handel colorful, subtle and artistic; while the and yet, through it all, there is a deep- To be sure America can boast as great tints in a baby’s cheek, beholds the velvet There’s a shin - ing lit - tie Spring Song.Mendelssohn u rhythmical settings are far more diversified, rooted strain of sadness, persecution, fate a variety of climate within its boundaries browns in the woods of autumn, and refined and intricate. Note the curious and resignation. The folk tunes abound in as does the greater part of Europe, but it “I had procured a fine violoncello, and catches the shadows, blue and purple, in three-measure phrase of the following folk melodic intervals of fourths and constant is not climate alone which influences the through it I have had innumerable hours the foliage of summer. Of course he is j I I I I 1 I I II I song, as illustrative of this latter point. motive repetition. pulsations in the music. The. physical of joy, though I do not pretend to be or led to the galleries and receives the inti¬ Is-land and its peo-ple love its well, geography of a country and its infusion Ex. 5 have time to become a concert player. mate messages of Velasquez, Rembrandt into the lives of the inhabitants play a big Music seems to give to the performer, who and Franz Hals. He reconstructs their We find, here and there in the Irish part in the matter. As an instance, it is is engaged in other business or pro¬ lives and learns something of the manners, tunes, a melancholy note which is most interesting to consider three European fessions, a kind of mental vacation which customs and even the government of their charming and spontaneous. It touches the countries which lie longitudinally parallel is invaluable. Music is an ideal escape times. heart but, withal, the lilt remains as ex¬ That France is between the really light¬ with each other—England, France and from tedium. In our new found ‘leisure' emplified in the Londonderry Air. hearted rhythms and the heavy, more pon¬ This bit of plaintive melody, The Song of Poland. When we examine the music of The Spring of Eternal Youth something must be done to enable people derous accentuations in music is easily dis¬ the Volga Boatmen, evokes a strong mental these lands we find nothing in common be¬ to provide for this additional time, some¬ b * HE RIDING of many hobbies is the closed if we but move east by north across picture of weariness, suffering, and cease¬ tween them as regards spontaneity of thing better than cheap magazines, de¬ Ex.2 -l best form of continuing education the Rhine into Germany. Here we find less, hopeless toil, so typical of the average rhythm or melodic line.. All three are un¬ structive movies, useless motor trips, and throughout life. It is the preservation, of folk tunes of a more sentimental nature folk tune. mistakably individual as regards these dance halls. Music may at this period of play in maturity; it is a process of con¬ than elsewhere. The rhythms are more We now travel south by west, across musical characteristics; and consequently it our governmental development prove of stant liberation of the mind and spirit. stolid and fixed, in the sense of being set. Poland, Czechoslovakia and Austria, to the must devolve upon the physical nature of tremendous sociological value. That intelligence is most free which can We could quote innumerable examples of The melodies of the people are diatonic, small, mountainous Republic of Switzer¬ each land to account for the vast differences go in most directions and be aware of what this distinguishing feature of the Irish but the trend of the art melodies is a mix¬ land, where we halt to listen to what effect in these attributes. is happening wherever it goes. Such a melodic trend; but we next move across ture of the diatonic and the chromatic. It geographical altitude may have upon Physical geography has a very great deal ecently i was asked to co R mind has broken the shackles of ignorance the St. Georges Channel to England, to note would seem that, up to a certain point, the rhythm. In the folk songs of these “high- to do with the comfort or discomfort of tribute to a publication an arti< and incapacity. a slightly sturdier and calmer spirit in farther north one travels the more opulent livers” is noted a strong tendency towards peoples, and this is reflected in the ex¬ upon the importance of hobbies. The val “Many hobbies bring one into contact the emotional expression of the people as becomes the rhythmic variety in the music. echo effects in the melody, as though the pression of their lives, whether this be of the hobby is too great for most peot with interesting people and create bonds of typified in the music. Why? England is A good example of this variety is found tones were wafted back to the singers from through the medium of music, painting, to grasp. A hobby is looked upon by me sympathy which are pleasant to bear. The but slightly east and south of Ireland and, in the folk song, Auf dem Berge. the distant crags and walls of the surround¬ sculpture, architecture or literature. Thus people as a mere pastime—a kind of pla hobbies make their possessor a better social geographically speaking, there should be ing mountains. There is a sense of peace all art becomes immediately indentifiable but it seemed fit to correct this in a met being, both in the narrow sense which im¬ very little, if any, difference in rhythmical Ex.6 and sturdiness in the simple, straightfor¬ with a certain land. But this expression ure, by the line of argument to come. plies attractiveness of personality, and in manifestation; but the slight southerly ex¬ ward rhythmical lines, and a feeling of of each land has not come without a vast “Play is more than an emotional releas the broader implication of cooperative par¬ posure and the proximity of the Gulf security from any of the great burdens- of amount of historical background; and it it is a wellspring of live interest whi ticipation in the affairs of the community. Stream, while not decreasing the fogs and life. Placid and sweet, their tunes ring is this tradition that is thus far lacking in leads to expanded individuality, knowled; The man of many hobbies is usually an the rains, yet have a tendency to create a Due north, across the Cattegat, the forth in wholesome, cheerful strains in¬ our “Land of the Free and the Home of power of critical observation and jud entertaining table companion and also a more stable and serene outlook upon life. Skagerack, or Baltic, brings us to the dicative of freedom and contentment. Note the Brave.” ment and improved creative effort, not or good citizen. We find this reflected in the tunes of the Scandinavian countries, Norway and the naivete of the song, The Mountain Boy. The only melodies that are indigenous to m avocations, but also in the vocation whi “Of course one may be limited by in¬ people, in the flowing contrapuntal rhythm Sweden; and we find here a naivete of America are the Indian chants. These seems so far removed from this play. I ferior general intelligence or by such physi¬ of their madrigals, sea shanties (chanteys), rhythm along with a melodic contour that Ex.10 , are hardly characteristic of our present us consider the case of a person who tab cal handicaps as deformities, color blind¬ country dances and folk songs. A splendid is quite diatonic and yet inclined at times civilization and consequently are not ex¬ up the violin as a source of pleasure. Ve ness or bad hearing. These limitations illustration of this sturdiness of spirit is to progress in thirds. The following folk' pressive of the geographical effects on the soon his ear becomes sensitive to delict narrow the possible range of activity. But found in the famous old folk tune. My Man song, Jeg Lagde Mig Saa Sildig, gives this A yo - del song is good to present inhabitants. The Negro spirituals shades of quality in sound; he distinguisl each can find some field of amateur en¬ John. characteristic impression. and croons are characteristic only of this variation in pitch and force; and he is c deavor, the exploration of which will he race and are hardly to be considered as lighted by many remarkable patterns helpful in making the most of such capaci¬ Ex-7 y typically American, except as musical by¬ rhythm of which he was formerly unawa f r m p * J -i i J h ties as are possessed. .hear Up - on the Al-pine heights; products of association and influence. His attempts to produce desired tones “A course dinner is to be preferred to a .pfnci£fN-ig Some of the Stephen C. Foster songs, pleasing succession on the violin make h single bowl of oatmeal; a diamond of many _ Due south we cross into Italy, and the and a few of the folk melodies prior to and better able to detect the tones of oth facets is more brilliant and colorful than There will be found a note of sadness simplicity of the Swiss rhythms follows but immediately following his period, may be instruments, the full orchestra, and of su Next we turn still farther east by south DR. ROBINSON WITH HIS FAVORITE VIOLONCELLO an uncut stone; many hobbies are better permeating the sentiment of the music, and the southern temperament at once becomes considered as the beginnings of a definite things in nature as the calls of birds t and find ourselves in sunny • Spain. Here than one.” yet there is a feeling of sturdiness and evident. There is the warmth of the sun¬ musical folk lore; but we feel inclined to THE ETUDE SEPTEMBER 1931,. Page 513 Page 512 SEPTEMBER 198j. THE ETUDE

believe that the melodies of the lumber VUa\ing A Fist jacks, plainsmen and cowboys come nearer to being true expressions influenced by By C. M. Littlejohn Maurice ^Ravel geographical surroundings than any others since America was discovered. Take, for Of inestimable value to the young instance, the monotonous rhythm of the T5he Man, 'Bhe Musician, 'Bhe (fritic Poor Lonesome Cowboy and its unimagina¬ piano student is the simple clenching of the tive melodic line: fist, not only for strengthening the fingers and whole hand but for gaining the proper Including a personal conference with the master, secured expressly position of the fingers over the keyboard. for The Etude, by the eminent French Pianist'Lecturer This position is discovered by observing the fingers as they are slowly released from a tight grip. Maurice Dumesnil In this tune one can sense the loneliness The act of opening and closing both of the range rider’s life; the day-in, day- hands slowly and strongly, making the out dreariness, the constant longing for grip as tight as possible when the hand is taste and style. His musical scruples are home, friends and personal attention. Then, closed and forcing the fingers to their THE ILE-DE-FRANCE stretches, near Paris still. In fact, you are only contrast, a large estate stretches its green extreme, and he never allows himself any as the sun sinks in all its splendor behind maximum extension when the hand is at the north of Paris, on a length twenty-five miles from the capital, and the lawns and its venerable trees. “I love kind of facility. Careless, prolific writing the mountains, his evening chant, When opened, constitutes one of the finest of daily of about thirty miles between the ride has taken less than one hour. But this,” says Ravel, as he points out, “here, fills him with horror. His reserve is such the Curtains of Night are Pinned Back, exercises. Every muscle of the entire hand Seine, the Marne and the Oise. It is when you land in the old streets of Mont- the Ile-de-France, and there—England!”. that some may accuse him of lacking sensi¬ rings forth on the crisp air in all its senti¬ is brought into play by this stimulation of notable for the clarity of its skies, the fort, you might well be several hundred Still, Ravel was born in the. south, in the mental pathos as he longs for his sweet¬ a pleased pussycat who “makes dough” by harmony of its horizons, its valleys, rivers miles away. The houses, tiveness. Still his harmonic research rich in “finds,” his colorful and dynamic heart. alternately closing his paws and re-opening and rolling hills. A historian once called the narrow sidewalks, the rhythms, the power of the climaxes which them with claws stretched to their fullest it “a garden of flowers and stones.” This ways, the he so well knows how to build; all of these Ex. 13 extent. Muscles and tendons are made is perfectly adequate. Tourists love it for picturesque show how sensitive he is. Sometimes, more flexible and elastic by this process of the forests, the parks, the old fortresses and pointed roofs, daily exercise. historic churches which form its armorial. the bulging however, his reserve has been misunder¬ But it must be loved also for all that the stood, even by some of his most ardent Somewhat similar is the “trigger squeeze,” habitants Other cowboy songs and lumber jack devotion of artists and writers has added admirers. By insisting too much upon his invariably practiced by “crack shots” of may be of ditties are very similar in rhythmic design to its prestige. And truly, recollections horror of pedantry, his fear of pompos¬ the army. This is a daily exercise of the French or and simplicity of tonal progression to the seem to surge with each new mile of the ity, there has been created a belief that he marksman with or without the rifle. It Spanish na¬ above tunes, all of which, undoubtedly, are road: Victor Hugo, at Bievres; Gounod, is at his best in miniatures. Nothing is includes a slow closing of the trigger finger at Saint-Cloud; Debussy, at Saint-Ger¬ tionality ; but farther from the truth. Ravel has written the result of geographical conditions. into the hand being uniformly tightened by We cannot but note the fact that geog¬ main ; Corot, at the lake of Ville-d’Avray; they are many large works: the two suites of degrees. This so-called “trigger squeeze” raphy has its direct influences upon the Zola, at Medan; Flaubert, at Mantes— primarily “Daphnis and Chloe,” the “Spanish Hour,” makes for greater accuracy inasmuch as it various arts of each country. Not alone Mantes-la-Jolie, a name so well deserved, Basques, or the Bolero, and the Spanish Rhapsody, not prevents jerkiness and throwing of the aim is the rhythm of music affected by the for it is so pretty, built in a nest along the Catalans. to mention his string quartet and other off the center of the target. nature of the landscape, the temperature Seine and in olden times a border town of works of chamber music. , the southern and the different local forces of nature; Every marksman, sharpshooter or wearer France which William the Conqueror, Still it is true that he hates bombast and but the rhythms in architecture, painting, of the “expert rifleman” badge in the Army Duke of Normandy, plundered and burned, spirit dwells for this reason carries self-control and re¬ and the other arts, also find themselves is an exponent of the trigger-squeeze and finding his death in a fall from his horse in them. This straint to the highest degree. Anyhow, under the spell of nature’s elements. With¬ a master of this fundamental principle in as he galloped through the flames and the is why Ravel, what does size itself matter ? It seems that iHH most Pari¬ out this consistency of natural laws, there army shooting, which has been inculcated crumbling houses. we live at an age when long, heavy works would be very little variety in the im¬ as part of every soldier’s training and Farther on, at Giverny, we can see, intact, sian of com¬ are out of date. Who would deny that, in pulses of life. All music would be mo¬ widely adopted outside. It provides train¬ the house of Claude Monet, with its en¬ conspires to posers, is at poetry, a sonnet may contain more beauty notonous and uninteresting. ing in the control of the “trigger” finger, chanted garden and, across the road, the than a long, tiresome epic poem ? One time the most and in the muscular proficiency of the- famous pond where he painted his lilies. impression of Prelude of Chopin, to my mind, means SELF-TEST QUESTIONS ON entire hand. In other parts, Renoir, Sisley, Millet, a great past Spanish of more than all of Bruckner’s boresome sym¬ Cezanne and Daubigny found their delight. which is still artists, and phonies. It is related that a celebrated MR. ANDERSEN’S ARTICLE When the practice of the day is begun, It was there that they enjoyed, along with preserved evokes the musician once said, jokingly, “Ravel is the 1. What characterises the Spanish folk the knotty little fists of the young pupil a simple life, the happiness of painting at and well idea of a most perfect of Swiss watchmakers.” By tune? are held directly over the keyboard, a time when the world was at rest and alive. You Spanish mu¬ which he probably meant that Ravel’s music 2. What is the expressive content of Scan¬ knuckles up and closed fingers beneath. sician after dinavian musicf their existence could be devoted entirely is mounted like a marvelous piece of ma¬ By slowly undoing the grip, the student, imagine that Goya and 3. In what way does climate influence to their ideals. Then the Ile-de-France chinery, like one of those extraordinary when fingers are just about mid-way to¬ you are—in Russian music? still preserved the original aspects of its time pieces which are regulated at one ward an extended position, will find that a B r i ttany ! Ravel was, 4. Of what effects do the mountain singers unmarred beauty. It was free from in¬ tenth of a second. This joke is at the same THE NEW ENGLAND CONSERVATORY OF BOSTON, IN ITS PERIOD good, arched hand formation has been Still it is at the Paris make use? truding industries, from so many factories time remarkable praise, for it expresses achieved, one that should be painstakingly Conserva¬ 5. Why is America not particularly rich AT FRANKLIN SQUARE, FROM 1882 TO 1902 and their attendant workingmen’s cottages, accurately the perfection of the minutest retained during practice hours. in folk song? which have mushroomed so disastrously fort-l’Amau- toire, a stu- details which is his own. around Paris for a score of years. Its ry, centuries d e n t of pastoral life was still unsophisticated. The ago, was part Charles de Here is a striking group of pictures of the New England Conservatory of Boston of the Duchy MAURIC A Ipohle Lineage as it appeared in 1882. It is a reprint of a page in Leslie’s Illustrated Weekly. This blossoming trees in which the birds sang ! RAVEL Beriot (son and stood as an advanced sentinel in the IKE MOST of the great piano writers, shows the famous institution as it appeared when the late Theodore Presser was a freely in the spring, the undulating fields of the illustrious violinist) for the piano, 1 'Bhe Game of ^Musicians 'Beaching Accents heart of France. If you happen to arrive J Ravel descends from Liszt. Most student there. The Conservatory was founded in 1867, having its rooms in the old of golden wheat and the songs of the har¬ and Gabriel Faure for composition. He noticeable in this respect is the Jeux d’eau Music Hall Building. The founder, Dr. Eben Tourjee, was one of the distinctive vesters in summer, the echoes of the hunt¬ there on a certain day of August, you will never aimed, however, at any pianistic- By Nathan Shapiro (The Fountain), written in 1901 and his pioneers in American musical education. He was born in 1834 and died in 1891; and By Gladys M. Stein ing horns through the rusty forests in the find the little city celebrating the “Fete” of success, being already at that time most The following “Game of Musicians” re¬ he is said to have introduced the class method of musical instruction in America ’ autumn, and the icy landscapes of winter; Anne de Bretagne, you will see the ducal involved in his creative work. I remember most popular piece. There will be found quires for its enjoyment only a varied all of these were a pure source of inspira¬ coats of arms on the decorations of the clearly my first glimpse of him at the a striking resemblance in the way of'han- When young pupils have difficulty in knowledge of the lives and works oi the As a youth Dr. Tourjee had conducted a music store in Fall River, Massachusetts tion to artist, painter, poet or musician. streets, and the people wearing typical Maison Erard. It was at one of those dling the piano, but, on Ravel’s part, a more well known composers and musicians. but later became an organist at Newport, Rhode Island. In 1859 he visited Europe understanding the differences in accents Breton costumes, hats and bonnets. monthly auditions which M. de Beriot gave richness of harmonies, an audacity and a It may be played by two or more persons. to inspect conservatory systems. At the same time he had lessons with August Hanot the teacher should mark the beats of the in the small recital hall of the, celebrated power of description, which belong to him One of the players leaves the room while m Berlin. On returning to America he was possessed of but one ideal, and that the measures in the following manner: Where Primitiveness Prevails The Master of “Belvedere” piano house, for the purpose of getting his only. The date of composition should be those remaining decide upon a musician founding of a great Conservatory. When the quarters in Music Hall Buildine had STILL WE MUST NOT be pessimistic. IT MAY BE also that you will meet a pupils accustomed to public playing. given especial notice: 1901 marks the end whose name will have to be guessed. The become too cramped, he acquired the old St. James Hotel on Franklin Square as Many corners remain untouched; and man of short stature, seemingly frail As a young aspirant for admission to the of Debussy’s premiere maniere, or first one who left the room is now recalled and shown in the illustration, and converted this into a conservatory building This served I know a few, which, like oases in the and of slender, almost angular figure, yet Conservatory, I followed those exercises style in piano writing; after which an has to ask various questions which will help the purposes of the institution until 1902, when the very beautiful new building of the IJ J j J |! J J j J J desert, stand a good chance of remaining obviously full of stamina, with rather most assiduously. A special feature of evolution came and can be detected in the him discover the name of the man chosen. famous music school with which so many celebrated musical personalities have been unspoiled for a long time, because they prominent nose and brilliant eyes dotting each program was the appearance of a “Estampes,” dated 1903. Previously, De¬ The questions must all, however, be an¬ associated, was erected on Huntington Avenue. happen to be remote from main highways two thin cheeks. You will notice the flexi¬ composer presenting several of his piano bussy had created many lovely pieces of swerable only by “yes” or by “no.” For and to enjoy the privilege of not counting bility of his gestures, his somewhat distant works. Ravel was one of them. I can modest proportions and rather easy pianis- 1 he old building was, in its day, considered a marvel of elegance in musical The note having the most marks over it example, the questions may be as follows: receives the heaviest accent, and the others a railroad station among their official but most courteous attitude, the discreet ele¬ still visualize, this high stiff collar and tic writing, which have not aged in the “Is it a man?” “Is he living?” “Was he TUli N”te the BoardmK House” dining room, the real elevator, the wonderful Mr municipal buildings. gance of his clothes : Maurice Ravel. For Lamartine tie, and the side whiskers which least and have preserved their charm abso¬ Hall ®nd the obvious scandal brewing at the foot of the stair in the cut at the un are played accordingly. a German?” “Did he live in the nineteenth Montfort-l’Amaury is one of these rare Ravel, Parisian among Parisians, has made gave him the aspect of an Austrian diplo¬ lutely intact. Still the change came with right hand corner. Also observe that the ethics of advertising did not at that th A few weeks’ drill in this kind of work century ?” “Did he write any symphonies ?” little cities. It is indeed a small town, for his permanent home in Montfort-l’Amaury mat. But most of all, I was impressed by the “Estampes” which opened the period will do much to improve the pupil’s rhythm. The questioning proceeds thus until the £TBd&2"™°^ * PiCtWe °f 3 be3Utiful Public squ^e in front its population does riot reach two thousand and has become its most prominent citizen. the originality, the distinction, the shim¬ of Debussy’s greater manner. And many one guessing thinks he knows what name inhabitants. Yet it is one of the most de¬ There he bought a house shortly after the mering colors of the Sites auriculaires, the see here, especially in the first number, was chosen. Then he announces the name. lightful places of the Ile-de-France. If war, remodeled it, enlarged the garden, and Menuet antique and the Pavane pour me Pagodes, a trace of the influence exercised If, however, because of insufficient infor¬ you follow, past Versailles, the road to built a “Belvedere” which gave its name Infante defunte, which he played on that by Jeux d’eau which had appeared in the mation, he guesses incorrectly, he is penal¬ Brittany, you will first pass through Saint- to the property. occasion. From the very beginning, his meantime. ized by not being allowed to guess when it The Etude is constantly devising new ideas Cyr, famed for its national military school, “Belvedere” is located up a hill and at piano music showed a real inventor; it was Fussed Up One of the characteristics of Ravel’s is next his turn. • and plans for promoting practical music study the West Point of France. After a few the curve of the road to Houdan. The site already supremely distinguished and bore piano music is the clarity and limpidity of The game continues thus, everybody be¬ “Are you positive,” demanded counsel, miles you will leave the road of Rambouil- is one of the most admirable of which one the unmistakable, characteristic -seal which its graphic notation. It is most perfectly ing given a chance to guess. There is In the October issue we shall announce one “that the prisoner is the man who stole let on your left, pass the charming village could dream. From the terrace in back, has remained absolutely his own through and completely written out. All the magic such a great number of composers, musi¬ of the most useful ideas we ever have your violin?” of Pontchartrain, after which the lake near are discovered miles and miles of smiling the development of his career. tones are there in black and white, and in all New Orleans is named, and reach an ave¬ country following the immediate perspec¬ cians and people in some way connected “Well,” answered the witness, “I was of their details. An adequate interpreta¬ evolved in this connection. nue of shady trees branching off to the tive of grey stone, quaint chimneys utter¬ A Musical Martinet with music that the game may continue until you cross-examined me. Now I’m tion should therefore be an easy matter, indefinitely. left and toward a church tower on the hill ing ribbons of blue smoke, turrets and gar¬ not sure whether it was a fiddle or a AVEL is an aristocrat in music. He for one endowed with a capable technic and among the woods. You will feel quite goyles. On the other side, as a well marked phonograph.” attains a sort of perfection in good and following the text scrupulously. But, THE ETUDE Page 514 SEPTEMBER 1934 THE ETUDE SEPTEMBER 1934 Page 515 by the desire to equal Beethoven. But the on the other hand, there are a certain subtle defunte. I do not feel in the least em¬ Explorations charm of Brahms’ inspiration was, by insight, and also an effort of imagination, barrassed to talk about it: it is sufficiently THE TREATISES of orchestration, old to let the composer give it up to the critic. nature, incompatible with those large, fiery, which often surpass, and, by very much, from Berlioz and Rimsky-Korsakoff From so far, I do not see its merits any almost disorderly developments which are the possibilities of the average executant. to Guiraud and Widor, show us which are This needs a little explanation. In Bee¬ more; but, alas! I can see its defects very the direct consequence of the Beethovenian the good notes and the bad notes of each well: the influence of Chabrier, which is themes, or which, rather, spring up from thoven, Schumann or Liszt, for instance, instrument. In the olden times these rules the expression, the emotion, the passionate too obvious, and the rather poor form. In his very inspiration. Brahms acquired, were followed very closely; but gradually, my belief, the remarkable interpretation through study, the metier which his an¬ or dramatic feelings, are there in their in their search for novelty, composers be¬ primitive, genuine condition, and more or contributed much toward the success of this cestor, Schubert, naturally lacked. He gan to explore what had been considered did not discover it within himself.” less in the state of raw material. Each as forbidden land. They tried to investi¬ timorous, incomplete work.” This frankness and sincerity of the com¬ interpreter can use them through the chan¬ gate and to see if this would not yield new poser in his self-criticism certainly allowed A French Conceit nel of his own nature, in many ways dic¬ effects. The members of our orchestras him to speak in the same open way about tated only by individuality. This does know well the avidity of composers who OPINIONS MAY DIFFER as to the others. It is most interesting, from the not hold true with Ravel’s music, and there come to them in great secret and ask con¬ preceding appreciation of the German is only one kind of poetic sensitiveness fidentially for some new way to get sounds historic standpoint, to reproduce here sev¬ master’s esthetics. It reflects, however which is suitable—the author’s own. There¬ hitherto unknown, out of string, wood or eral parts taken from other articles which the attitude taken by many in France as fore it will be well for the performer to metal. They make notes, go home, try to appeared during the same year. Time has concerns Brahms. It is said, often, that the remember, at all times, the features of use the advice; and later we hear the re¬ passed since then, and the reputation at¬ French public does not like Brahms and Ravel’s personality, in order not to trespass sult—the horns strangle themselves; the tained by the writer makes them appear does not understand him. Thus presented, and thereby betray his intentions. clarinets sing through their noses, with a in the light of capital documents. the statement is wrong. Everybody under¬ fearful twang; the bassoon growls as if it stands Brahms. How could it be otherwise The Critic Spea\s had caught cold and had become hoarse; Will in Creative Art since his music is so perfectly clear and and the strings hiss like snakes in a tropical uncomplicated? But the French people CCORDING TO Alfredo Casella, THE FIRST one discusses Brahms and A jungle! But Ravel is so subtle, so tasteful much prefer a certain part of Brahms’ . Ravel has been termed, at the same Cesar Franck: and so discreet, that he conquered only works, namely, the songs and piano pieces, time, “scholastic” by a certain number of “This ‘long patience’ or will-power in the parts of this forbidden land which he to the greater symphonic or chamber music French modernistic composers, and “tara- which Buffon rather unluckily thought he knew would prove valuable. He was able works, which appear to them in the light biscote (over-concerned with details)” by had discovered the very essence of genius, to exploit the new resources with great of great big “machines” diluted for the some never-satisfied people. is only in reality a helpful adjuvant. The cleverness; whereas his imitators wandered mefe-sake of development, and of propor¬ “Both definitions contain a good deal of principle of genius, that is, of artistic in¬ blindly and ignorantly, got caught in the tions not in keeping with the simple charm truth,” states the Italian composer; “but it vention, can be constituted only by the swamps, and finally bungled everything! of the original ideas. is precisely because Ravel has known how instinct, or sensitiveness. What the The same had happened with Debussy’s Now as to Cesar Franck. Buffon con¬ to achieve a miraculous equilibrium be¬ naturalist perhaps meant only jokingly has imitators as regards coloring: what the tinues : tween sane tradition and an ardent thirst caused a misunderstanding which is more master had handled in delicate, soft hues, for novelty, that he asserts himself as the harmful and relatively modern—the idea “Must we attribute to similar causes the was treated by them with a heavy tar greatest musician in France since Debussy. that will-power can rule the artistic in¬ disillusion which comes to us after each In any case, only one thing matters in Art: stinct. Will-power must come only as the new audition of Cesar Franck’s “Sym¬ Spain holds an important place in the that the creator should reach those mys¬ artistic servant of this instinct. It must be phony”? Probably; and this though the production of Ravel. He does not, how¬ terious spheres where spirit and matter are a robust, clear-minded maiden who will two symphonies (Brahms’ in D major and ever, call on its folklore; and the themes blended in one whole, and where it be¬ obey her master’s orders intelligently, will Franck’s in D minor) are quite different in of the Spanish Rhapsody and the Bolero comes impossible to separate fantasy from carry out his instructions faithfully, help both thematic value and working-out were invented by him. His use of folklore technic, so perfect is their blending.” him pursue his road without ever trying Nevertheless, their defects come from the has been altogether very slight. In the list to lead him astray, bring the magnificent same source—disproportion between the of his works we find, as derived from it, clothes which will adorn him, but never ideas and the development. In Brahms we only a few Greek songs and harmonized Creative “Periods” select among her own wardrobe any un¬ find a clear and simple inspiration, in turn Hebrew melodies. May I say,' in passing, usual clothes, as sumptuous and tempting playful and melancholy ; and along with this LIKE THE OTHER great masters, the that the latter have contributed to spread as some of the garments may be. are developments which are scholarly, j style and the harmonic system of some belief that Ravel belongs to the “In some cases however, the master will grandiloquent, entangled and heavy. In Ravel have undergone several changes. In Hebraic race, which is contrary to the be so weak that the servant must support Franck, we have a melody of serene, up¬ the period from 1901 (Jeux d’eau) to 1910 truth. Born at Ciboure, Basses-Pyrenees, (“Daphnis and Chloe”), he was, like De¬ him, or, even take the lead. The product lifted character, daring harmonies of singu¬ Ravel descends from Saracen ancestry. lar richness; but a poverty of form which is bussy, Florent Schmitt or Gabriel Dupont, Ciboure is a small town just across the of such abnormal association is rather piti¬ within that certain characteristic harmonic ful, musically at least. Still, it may satisfy appalling. The construction of the German river from St. Jean de Luz. When the master is clever, but one feels too much climat which 'prevailed at the beginning of Moors occupied Spain and attempted to certain listeners, whose nature happens not its artificiality. In Franck, there is hardly this century. The same had happened to conquer the south of France, they took to be over-sensitive. What one feels tempted more, than an attempt at construction; Bach and Handel, Mozart and Haydn, Ciboure and laid siege on St. Jean de Luz, to appreciate particularly in these sulky groups of measures, or entire pages, are Chopin and Schumann, for instance, in unsuccessfully. Many of them settled in works is the metier (the technic, the writ¬ repeated, transposed literally. He abuses, other periods. This climat is properly in¬ Ciboure, however, and this is the reason ing experience). Bnt in Art the metier, describable, immaterial. Still, it exists and why a strong Saracen element has remained in the absolute sense of the word, cannot awkwardly, the old-fashioned scholarly for¬ exercises a sort of general influence on the in the population. exist. In the harmonious proportions of a mulas. But there is one point where the superiority of Brahms manifests itself: his most personal musicians. It is as an emana¬ work, in the elegance of its architecture, THE FAMOUS PORTRAIT OF LUDWIG VAN BEETHOVEN, BY H. WULFF tion from the air, from the myriads of the part of inspiration is almost unlimited. orchestral technic is most brilliant. Franck, atoms that roam around us and encircle The Litterateur Developments created by will-power will on the contrary, commits quantities of in¬ all forms of art. This has been the cause BEFORE THE WAR, Ravel collabo- only prove sterile. This appears very strumental blunders. Here, the basses of a certain bringing together of Ravel’s 13 rated regularly, as did Debussy, on clearly in many works by Brahms. One crawl clumsily, making the rest of the and Debussy’s names by some people who several music magazines. In February, notices it in the “Symphony in D major.” strings still more heavy and dull. There, revel in disclosing plagiarism. It is quite 1912, he gave his first contribution to the The ideas are of intimate,, sweet musicality. loud trumpets double the part of the violins. Peethoven the Humorist unjustified. Debussy and Ravel may be “S. M. I.,” a monthly bulletin of the Although their melodic outline and their At the time when the inspiration soars to termed neighbors, harmonically; but they Societe de Musique Indcpcndante. The rhythm are very personal, they can be greatest heights, one is disconcerted by are different. Generally speaking, Debussy date of its issue makes the following ex¬ linked up directly with Schubert and Schu¬ sounds of carnival.” 43y Jerome Bengis cerpt particularly noteworthy. is more in .the major mode, while Ravel is mann. However, their progression seems (Continued in 7s[ext Etude) in the minor. Debussy loved the whole- “By an ironic coincidence, the first work to become hard and difficult as soon as O PICTURE Beethoven as a stern, T or the unsatisfied yearnings of his love- with a somewhat pompous air, says, thoughts really are may well be imagined tone scale, at least in the middle period . about which I am called to report happens they have been presented. It seems that over-serious personage would be life. of his life; while Ravel never used it, even to be my own Pavane pour une Infante ‘Passing 7\[otes “These people show me too much respect. by anyone of even slight psychological in¬ the composer was obsessed, all the time quite as incorrect as to fancy Haydn Genius at Leisure if sometimes he came quite near-by. By Florence Leonard I do not approve of their bowing to me so sight; for soon we find him turning to the as a musical Chatterton or Schubert as a ET US START with Beethoven’s little continually.” Ravel’s renewal of style came with the A double bass basso: Lablache, the fa¬ I eager musician to say, “I am not worthy profound enigma. He had his serious mo¬ s stroll with Goethe down an avenue at “Trio for Piano and Strings,” written in mous basso, a man of enormous size, played At which Beethoven gives him a little that you should come to me.” The other, ments, it is true; and, when he wrote his Baden. This does not refer to the occa¬ 1913, a renewal which confirmed itself in the double bass in the theater in a small side-glance and replies, “But perhaps they overcome by this compliment, leaves the Heiligenstadt Will, his words were not the sion when Beethoven refused to bow to the the “Tombeau de Couperin” (1916-17) and Italian town. Here he had the chance of are bowing to me as well, Your Excel¬ house thinking himself a titan; while revelation of a mere serious mood, but of a aristocrats (an event which was, there is lency.” in his subsequent works up to the present his life when the principal bafcs singer was Beethoven can do nothing other than smile despair bordering on tragedy. Neverthe¬ reason to believe, only another one of Bet- It is to be noted that Beethoven used time. In this new style he does not repudi¬ indisposed. His success in the singing to himself. less, in spite of this man’s pathetic exist¬ tina Brentario’s romantic inventions, or a the title, “Your Excellency.” Whether or ate the past; but he looks for more and part was instantaneous. His voice was so But somewhat previously, in the same ence, he never quite forgot his sense of gross exaggeration at the least). But let not this was ironic must be imagined. But more simplicity and in consequence his reminiscent of his instrument that, when year, Beethoven’s humor had rippled to the humor; and the Beethoven who wrote the us imagine * these two geniuses as they of one thing we may be sure—that there harmonies are less loaded, while in the Weber heard him sing soon after his surface. Del Rio, the tutor of Beethoven’s Scherzo of the “Ninth Symphony” is walk along one fine afternoon—Beethoven was a clever little twinkle in the master’s “Concerto for Piano and Orchestra,” he debut, he exclaimed, “By heavens, he is a hardly less humorous than the man who nephew Karl, has called. Beethoven, sud¬ admits that he thought of Mozart and Saint- in quick movements, as was his custom, eyes as he uttered the words; and he doubt¬ denly aware of his untidy appearance double bass still!” composed the rollicking finale of the “First.” with his short, stocky body bent forward, less gave a little chuckle as well. Saens, whose perfection of form he con¬ Patti’s earnings in opera were said to, Beethoven’s humor, however, is never of (which he takes the trouble to observe only siders supreme. and speaking loudly and gesticulating con¬ on rare occasions), jumps up to put on his be the largest of any singer, and her active the exquisite sort; for the artist is never spicuously, thereby attracting the attention Sharp or Tender Without a doubt, Ravel is one of the unlike the man. The Allegretto of the coat. Upon which, however, to his great career was the longest. In certain South of some of the more curious passers-by; E WILL GO ON a few years. greatest orchestrators in the annals of music. “Eighth Symphony” and the Russian-like W embarrassment, he sees that Del Rio has American engagements she had a contract while Goethe, with an imposing and digni¬ Beethoven’s humor is revealed again He is a wizard, a magician. Those who for sixty nights at six thousand dollars a boisterousness of the finale of the “Seventh” noticed a hole in his coat sleeve. Beethoven have heard his orchestral version of Mous- fied bearing, walks more sedately, and finds by a little incident that has a dash of Shav¬ hesitates. He does not know whether to performance. Caruso was paid ten thou¬ surely were not meant to lull one to sleep; sorgsky’s “Pictures from an Exposition” it somewhat difficult to keep up with his ian irony in it. It is 1816, and an obscure put his coat on or to leave it off. There sand dollars a night for a limited number whilst the middle section of the Scherzo of friend. As they move on, people stop now musician by the name of Anselm Hiitten- will understand just what I mean, and will the “Fifth” sounds like an impish dance of is an instant decision; and, with a coarse of performances. and then and bow to them. brenner has brought for Beethoven’s in¬ agree that when the art is carried to such gnomes. But let us turn from the man’s but forced laugh, he puts on the coat, with Frieda Hempel had planned a career as Goethe, who, in his heart feels highly spection an overture to ' Schiller’s “Rob¬ a point, it must be placed on the same music to his personality, and we shall un¬ the remark, “I’ll put it on 1 You’ve already level with that of the creator himself! a pianist and had appeared in concert at complimented by these lavish signs of re¬ bers.” We can see the young musician seen it.” the age of sixteen before she was told that derstand that side of his nature which spect, will not admit to himself that this RAVEL’S residence at montfort-l’amaury waiting anxiously as Beethoven carefully- These two incidents, the first so delib¬ her voice would make her famous. never really aged, in spite of his deafness is the case. He turns to Beethoven and, studies the manuscript. What the master’s erately ironic, and the second so poignant THE ETUDE SEPTEMBER 1934 Pa^ 517 Page 516 SEPTEMBER 1934 THE ETUDE

and pitiful, endear Beethoven to us all the Joan of Arc, “I cannot come without my more; and we see that, if at times he can banner 1” Even in this his humor does not be as subtle as Voltaire himself, at other fail him, and Beethoven is 'as quaint as fMusic P{ecreation and the Radio times he can be as artless as a child. If we are a little afraid of the man who so clev¬ Address by erly fools Hiittenbrenner, we must love The Burdens of Years RECORDS AND RADIO with all our heart the one who so touch¬ AS THE MASTER grows older, how- ingly reveals himself to Del Rio. . ever, his troubles steadily multiply. By Peter Hugh Reed Hon. John Dickinson His domestic affairs are always a source ASSISTANT SECRETARY OF COMMERCE, WASHINGTON, D. C. Youthful Wit of great distress to him. Added to the TURNING BACK to his earlier years, burdens imposed by the care of his nephew At a Conference of the Rational Committee on Education hy Radio, May 7, f934 we find Beethoven addressing his quill- (burdens in some degree taken upon him¬ irmrrmnxc ((a <:((((((( (Ti maker, Zmeskall, with absurd dignity. self by his own will), he never quite ceases Beethoven, who never quite forgot that arguing with ^his servants. Moreover, his THE . Busch Quartet, a new group This he proves in his performance of the “excellent rapping” of the knuckles which lack of financial ^resources- further adds to which plays with gratifying", tonal Brahms’ “First Concerto,” and again in his his discomfort. His long-cherished dreams he once gave the Archduke Rudolph, for quality, fine assurance and coordina¬ performance of the Grieg “Concerto” (Vic¬ ORE THAN two thousand years Whether it is desired or not can be dis¬ of the joy and peace of matrimony are hot M having kept him waiting, and who always tion, is excellently represented ofi records tor set M204). The latter in this new ago Aristotle, the first scientific covered only after the audience has grown realized; and his shattered illusions haunt continued to boast of that daring bit of by its performances of Beethoven’s “String recording is given a judicious execution, an student of politics, observed that accustomed to it. The degree of popular impudence toward royalty, now aims his him in his melancholy bachelorhood. Quartets, Op. 18, No. 1, and Op. 95” (Vic¬ interpretation which exploits neither senti¬ a state cannot be governed by the public interest which has in fact been expressed sarcastic wit at this Zmeskall, who is al¬ Yet, in spite of his painful, lonely ex¬ tor set M206 and discs 8252-3). Particu¬ ment nor technic. As one follows this opinion of its people if its citizens are too in the better musical programs is greater ways humbling himself before him. “Good istence, his sense of humor still shows it¬ larly notable is this group’s playing, of the recording with the score, it is realized how numerous to be reached by the voice of the than might have been expected in a country morning, Your Zmeskallian Zmeskallity! self, revealing the fact that the man’s essen¬ Adagio of the “First Quartet,” that most scrupulous Bachaus’ playing is. Here same speaker. Because of the truth of like our own, with practically rio musical Has Your Zmeskallian Highness slept well tial spiritual vigor has not left him. We “moving song of sorrow” which is said to again, we have a work written in a com¬ that observation, popular government was tradition behind it, and offers excellent in the Zmeskallian bedchamber?” And are amused by the Beethoven of the last have been inspired by the Tomb Scene in poser’s twenties; a work perhaps more emo¬ condemned for hundreds of years to the promise for the future. Beethoven is highly amused by the sour period, who writes to a publisher somewhat “Romeo and Juliet.” Each work is given tionally spontaneous than the Brahms men¬ narrow boundaries of towns and small faces of his friend, who blames his blue as follows: “You promised me so-much sensitive, convincing and musicianly per¬ tioned above, but hardly more emotionally Powers and Limitations blood for this satirical shower. and so-much for my quartet. You say you cities. It was the invention' of printing, formance. The recording is clear and gratifying or more spiritually elevating. with the resulting possibility of rapid com¬ HIS CONFERENCE today is de¬ Later we find Beethoven saying of Ros¬ are cutting the previously mentioned sum T Bach’s “Italian Concerto” has been aptly sini (as only he could) : “Rossini would in half? Very well—then I cut my quar¬ realistic. munication of the written word over wide voted primarily to the subject of radio have been a great composer if his teacher tet in half, too. Herewith you will find The London String Quartet, has never termed “a perfect model of a well-worked- areas, that in the long run made possible and education. I have spoken to this ex¬ out concerto for one instrument.” It is a had frequently applied some bows ad pos- enclosed two movements of the quartet in¬ been better represented than in its record¬ popular government as we know it, on a tent of music, not merely because of the teriora.” Obviously this quaintly humor¬ stead of four.” ing of Beethoven’s "String Quartet in A bravura piece, free however from unessen¬ nation-wide scale. For popular government dominant part which I believe it must al¬ ous remark was called forth by his recol¬ minor, Op. 132” (Columbia set 193). Here tial ornature; hence a truly inspired work means essentially government by discus¬ ways play in radio programs, but also be¬ in its chosen genre. Being a composition lections of his own stern father pulling him The Evening Afterglow is a notable performance of one of Beetho¬ sion, persuasion, and the conviction that cause I believe it constitutes one of the all too seldom heard in concert, Harry results from discussion and persuasion, and most important channels through which out of bed in the early hours of the morn¬ HE FIRE of the man is still not ex¬ ven’s greatest works, in which the spiritual ing and dragging his Mozart-to-be to the T aura, the eloquence and the intellectual con¬ Cumpson’s conscientious performance of it it cannot function unless there is available radio can contribute to national education. tinguished, and his pride is as great (Columbia discs 68192-3) is most welcome. a rapid medium of communication through ' Every vehicle of communication, like every village church organ. as ever. Occasionally he still must burst tinuity are set forth with comprehension ..and care. Few things are inore moving, In the recording, the concerto takes only which such discussion can go on. art," has its own special fitness to certain out with fits of temper, as^is.-found when three sides of the two discs, the fourth Such a medium on an effective scale ends rather than others; and Lessing taught Love Me, Love My Dog he is one day in a Vienna restaurant. ,' ; ’more spiritually uplifting, than the third side being given over to Bach’s “Fantasia first began to be supplied by the develop¬ us long ago, in his Laocoon, that we must N THE YEAR of 1810 he is writing to “I asked for- lamb ' stew!” , thunders,, movement of-this quartet, with its deeply I in C Minor.” This latter composition, so ment of the newspaper press in the Nine¬ not expect one art to do the work for which the before-mentioned Zmeskall for a Beethoven at a waiter. “Why did you bring- ; felt and devotionally expressed opening sec¬ reminiscent of Scarlatti, was composed a; teenth Century. It was this which made others are better adapted. mirror (and he himself probably chuckles me beef stew?” tion in the Lydian Mode, and which in the about the same time as the “Italian Con¬ popular government in the modern sense over the request) ; while, in the same year final augmented variation and coda reaches We should always bear this in mind in “Oh, no,” insists the waiter; “you asked certo.” possible. The coming of the radio has is discovered his obvious reasons for such expressive heights quite indescribable. Such considering the part which radio can play for beef stew.” completed the process and, by an undreamed a demand—his brand-new love, Therese music as this, played as here, is most wel¬ Schonberg’s “Verklarte Nacht” is a; work in education. Inevitably, I believe it is “Don’t tell me I asked for beef stew, of miracle of science, has restored popu¬ Malfatti, who has a little dog, Gigons, of come on records, since they permit close which is worlds removed from the com¬ better adapted to those types of educational when I know I asked for Iamb!” lar government in Aristotle’s sense to a whom Beethoven is especially fond. In his study and greater intimacy. poser’s later creations. It is a romantic effort in which the emotional and dramatic With which Beethoven rises and dashes modern nation of continental expanse. letters of this period the creator of the the whole platter over the waiter’s head. composition, belonging to the post-Wag- have a part, than to those which consist Alfred Cortot’s expression of the poetic When the people throughout the length and “Eroica” says that this Gigons has supped This he regards as very humorous, so that nerian era, with no so-called modernistic in the mere transmission of intelligence. qualities of piano music, his singing tone breadth of this vast country sit at their with him and accompanied him home; ‘and he roars to his heart’s content as the waiter effects or idiosyncrasies, and whose struc¬ This Hoes not mean of course that its use¬ and his sound technic, make his recordings firesides and listen to those inspiring mes¬ he even boasts of the fact 1 wipes thd porridge from his head. tural solidity and homogeneity of style com¬ fulness is limited to education through not only thoroughly enjoyable but also sages in which the President of the United But, when Beethoven is not occupying On his deathbed Beethoven is resigned mend it to our respect; but whose program music. Far from it. It does mean, how¬ great boons to the piano student. In his States has from time to time during the his leisure by strolling with Gigons, we to the ways of Fate. His tortures seem (it is founded upon a sentimental poem by ever, that there are fields in which it can¬ recordings of Chopin’s great Fantasia in past year explained the development of- his may venture to suppose that he is horse¬ endless. One doctor tells him he must Dehmel) leaves us indifferent and unmoved not compete in effectiveness with the F minor (Victor discs 8250-1), the four program to the people, we at last find real¬ back riding! Incidentally, the man who sit on a tub of hot leaves, and Beethoven To us it always has seemed unnecessarily printed page or the visible diagram. I be¬ Impromptus (Victor discs 8238-9), and ized the conditions of a true democracy, for always wore his own hair while every does so—dreaming, in the meanwhile of a protracted; a fault which Eugene Ormandy, lieve that in these fields radio can however Ravel’s “Sonatine” and Jeux d’ean (Victor all the people of the country are actually one else wore a wig, kept in fashion this “Tenth Symphony.” Soon he develops in his recorded performance (Victor set be put to very effective use in stimulating discs 7728-9), we encounter a sympathetic within sound of the voice of their leader one time (and it is almost unnecessary to pleurisy, and another butcher comes, this M207), seems unable to modify, even and arousing interest, and in calling public and comprehending mind at work recreat¬ and in a position to consider and reflect say that after this once he forever cursed one to tap him for water. The incision is though he gives the work a meticulous attention to the interesting character of ing, in an auspicious manner, the fanciful upon the program which he brings before fashions). made, and the water begins to flow. But reading. The recording, like all of those many fields of study which are apt to be moods of the great Polish composer and HON. JOHN DICKINSON So Beethoven decides not to ride horses lo! Beethoven the humorist appears anew 1 also the fastidious artistry of the eminent of the Minneapolis Symphony Orchestra otherwise overlooked. Granting that the again but to continue his five-mile daily For, in his own quaint way, he cajoles, released to date, is execllent. radio cannot compete with the textbook or French composer. One Floc\—One Shepherd strolls instead. On these occasions, if The forerunner of Ravel’s Bolero is to be the classroom in doing what the textbook “This reminds me of Moses tapping the form in which sound is and always will be culture; and this is especially true of music. he should walk rapidly by, we may be rock for water I” When Brahms’ “Piano Concerto in D encountered in his “Rhapsodie Espagnole." he dramatic spectacle of and the classroom are better fitted to do, T most agreeable and desirable to the human It is an old trite saying, which in this day certain that he would have his little note¬ minor” was first performed, critics labelled Here we have several Spanish scenes, ex¬ the whole nation listening in unison radio can, by means of proper programs, It was Beethoven’s last jest; and the ear, is music. Music is recreational in that of machine civilization we are too prone book, in which to jot down ideas as they it a “symphony with pianoforte obbligato.” quisitely and effectively set forth by a large to the voice of the President should bring awaken an awareness to the fascinating gods of Olympus must have smiled. The it has no immediate utilitarian purpose and to forget, that the men who write the come to him. And if he should be ques¬ Although this statement is an exaggeration orchestra with much precussion, and so home to us in concrete form the meaning problems of science and history and litera¬ following March our beloved master re¬ operates to allure men’s attention from the songs of the people exert a greater influ¬ tioned as to the everlasting necessity of this newed his long rambles, but in Elysian of the fact, nevertheless it must be admitted forth. The suite contains four sections: and importance of radio today. It is the ture and philosophy, which may lead to dull monotonous grind of routine labor to ence than those who write their laws. notebook, he would reply, in the words of fields. that this most vital work has decided sym¬ Prelude-Tonight, Malaguena, H abc.nera, voice of the nation. No farm is so remote, greater appreciation and understanding of the refreshment and stimulation which come Therefore, the character and quality of the phonic characteristics, which Bachaus, in his and The Fair. In his recording of this no'mine or ranch so distant, no home so what the textbook and the classroom have from touching off the springs of unused music which, through the radio, enters as splendid performance (Victor set M209) suite, Stokowski stresses the brilliance of poor, but what, overcoming all obstacles of to offer. emotions and unexerted powers of imagi¬ never before into the texture of our national unquestionably feels; since he does not per¬ its instrumentation and color rather than rivers and mountains and lakes and seas, Everything depends, as I have said, on nation. It is recreational in the sense that life, is of the very highest importance for mit the piano part to emerge from the this mighty voice can penetrate to those whether or not the special possibilities of Kreisler and the Prodigy its elusiveness of charm. As a recording it gives pleasure, as no mere transmission our future. It does much to set the pace orchestral continuity. After hearing this fastnesses and bring its message, the same this special medium of communication are of a modern symphony orchestra, this of intelligence or information can ever do; and tempo of our life, to describe the By Carleton A. Scheinert concerto so honestly and so apprehend- message that at the same time is being properly taken advantage of. Interesting (Victor discs 8282-3) is one of the finest but this does not mean of course that it is limits of our emotions and interests, and mgly performed, can one help but exclaim brought to all the rest of the country, to progress has been made in this direction. we have ever heard. only an idle pastime. Everything depends to qualify the character of our responses 1SA tl’e w°-k of a great creative the factories and the cities and the ships on For example, the technique, which has been Mozart’s “Six German Dances,” K509, on the nature and quality of the music, as is and attitudes. Fritz Kreisler declared, when he was cally but egotistically and physically by mind. And to think that Brahms was are so charming one wishes that Knapperts- the sea. But what message? That is developed of having some subject in the only in his twenties when he wrote it’ true of other forms of recreation as well. There can be no doubt as to the improve¬ last in Los Angeles for a concert, that peo¬ unreasonable adoration and expectations. busch had had a better orchestra in always the question. What message is so field of economics or law or government It has been said that Bachaus “steadily ment which has been noticeable during the ple destroy an artist with their “unreason¬ We wonder where they have disappeared 1 his recording of them (Columbia disc important that in this way it shall be com¬ treated over the radio in the form of a refuses to find his part greater than the The Power of Music past several years in the musical programs able adoration” and expectations. And Reaching at last their early twenties, 17034D) ; still, one may be glad that we municated by the power of modern' science conversation or dialogue, represents a great HERE IS NO recreation or sport offered over the radio. There is room for parents destroy the incipient artist in their physique gone, vitality drained, they are whole m performing a piano concerto. have this record. to all our people? The cleansing quali¬ advance over the classroom method of a which does not hold out possibilities talented child in the same way. unable to continue the pace. ties of a furniture polish? The virtues of further improvement. In this connection lecture or address. The play of the dialogue, of arousing and exercising valuable traits “Children should grow simply in music The talented child—every child—needs a liver pill? Granted; but even so, what one fact should be emphasized, which is the suspense involved in the question and of personality and character, if properly often overlooked. Appreciation of good and not be forced into it for business rea¬ its health protected. School, lessons at other national messages shall our people answer method, contribute that element pursued. In certain quarters today there sons,” remarked the artist, as he decried home, hours with music, all sedentary. , ORIGINALITY AMONG COMPOSERS hear from the air? music, as of other forms of art, is largely of the dramatic on which radio depends so the large number of “prodigies” springing There is no doubt in my own mind that in¬ is a tendency to belittle those forms of art a matter of habit. People who have never Fear of injury to hands or fingers halts original ”a7d ° ’™" ™’WOt bc rcVardcd as « genius unless he i greatly for its effectiveness. up everywhere since the commercial suc¬ athletics. Close application brings glasses. evitably by far the larger part of the ra¬ which seek an escape or release from the heard good music will almost certainly not rs*\zi^LrT™?,\-seemi f° mv°ivc ^ °f new conMo dio programs offered to our people will be prosaic realities of life. Such a view is, appreciate it when they first hear it, just cess of a few has lured fathers and mothers Too much, too fast progress! The talented in effecting some channe ’ ** °htle art' But originality does not consist merel Educational Increase to push their children on the concert stage. and must always be recreational in char¬ I submit, short-sighted, in that it fails as they, will not appreciate anything else child should be treated as any normal child. N THE PAST six years there has been The average child prodigy does not, can¬ acter, using the word recreational in its to see that from escape and release through which is new and strange and which, by I “For myself,” says Kreisler, “I have an increase in the amount of educational not, last. If we look back to music student broadest sense, as opposed to the immedi¬ art can come and do come new strength its novelty and strangeness, arouses at first been protected by the broad intelligence of material put upon the air. Especially note¬ days we remember children younger than ately utilitarian; and this is altogether as and new inspiration to face realities. Every a certain antagonism. Too much weight a wonderful wife, with ideals of life and worthy have been the programs on govern¬ ourselves, more advanced, possibly more it should be. They will be recreational sport, like every art, develops and trains should not therefore be given to expressions great good sense in treating me as a man, ment, sponsored by the American Political talented. Already some were making pub¬ in the sense that they will consist domi¬ attitudes and powers which can be im¬ of opinion through straw votes or otherwise, subject to the same laws of health, of Science Association, on law, sponsored by lic appearances, being hurt not only musi¬ nantly of musical offerings, because radio mensely useful in the highest sense of which might seem to indicate that good right and progress as any other man.” tM, pr,i„,ss0„ mJ „ is a form of sound transmission, and the building individual character and social music is not desired by radio audiences. (Continued on page 545) THE ETUDE Page 518 SEPTEMBER 1934 SEPTEMBER 1934. Page 519 THE ETUDE

What Makes a Good Toouch

through the firm curved finger and back-of- OW OFTEN one hears the remark, “lob,” the various “cuts” and other strokes Present Problems H the-hand, to the instantaneous flash of when coming from a piano recital, in which suppleness of body combined with N SPITE of this fact, however, there is I electric current (nerve-impulse) coming “Why, yes, he has a lot of technic, weight and resistance are necessary for the ever present necessity of combating through from the central power-house in steady improvement and success. the natural tendency and inclination of the but an awfully hard touch.” the brain. Probably the worst thing that can be The pianist similarly falls into the habit young player to use the various muscles of hitting keys and finds he has acquired a said of a pianist is that he “pounds.” affecting the joints of the arm, in his effort Position—Condition GREEK SETTING FOR “THE WOMEN OF TRACHIS,” AS GIVEN IN SICILY Many concert-goers have noticed a tend¬ hard touch, the result of tension and rigidity to establish resistance to the weight of the ency towards “pounding” in the playing of back of the fingers, in the wrists, arms and keys, instead of developing that resistance IT WILL BE SEEN that the part the certain pianists; and, in fact, this has-been body generally, all having a vital influence at the point of contact with the keys in fingers have to play in this instantaneous the cause of no little public criticism. Just upon the operation of the keys and the the hand itself. This is the important prob¬ transfer of current to the strings is one what the explanation of this regrettable musical results following. Hence the first lem which the wise and thoughtful teacher needing special attention. Obviously they J\lew PYCusic For yindent Plays must be firm; and it is also plain that the practice may be will appear perhaps from thing necessary to establish and to main¬ is called upon to solve. what follows in this discussion of. what goes tain is a condition of complete relaxation of Obviously, in the case of a child, the whole of each finger, should be so shaped pianos, is, however, only a sired point. factory results and to establish a proper curately timed movements of the wrist and ancient music to draw upon, and any liv¬ well reproduced through the aid of the was destined for some verses of Pindar, who turies later, when music was classified as modification and sensitive refinement of the form as a permanent and secure foundation. forearm, with well-formed hand and fingers, ing music must harmonize with the vibra¬ many fine Greek vases in the museums. Gregorian, it became once more diatonic. Electric Action principle of the fulcrum lever, by which and with varying degrees of pressure re¬ tions of its time. When Ildebrando Pizzetti But the music was another question, since Hellenic Rotation force applied at one end of a stick is trans¬ THE REASON for this necessary con¬ Form Development sistance in the back-of-the-hand and fingers, and Giuseppe Mule were selected by the only fragmentary bits of the original Greek GREEK MUSIC was not notated with ferred to a hammer at the other end, and, dition of relaxation, sometimes referred FORM in piano playing, as in any me¬ without loss of form, before beginning work Italian National Institute of Ancient Drama tone symbols, but notes were repre¬ by means of the vibrating string which is to as “devitalization”—an unfortunate term chanical or physical action, is a product at the keyboard. The importance of this to supply the lost music for Sophocles’ It would be interesting, could we ask sented by letters of the alphabet turned in struck, produces a musical tone. in the implications it carries—is to allow of three things which may be said to re¬ preliminary hand formation, as also wrist “The Women of Trachis” and Euripides’ Euripides or Sophocles wherein the musi¬ various directions. Gamma, f~, might The player of the Hungarian dulcimer a free and uninterrupted flow of nervous quire attention in the following sequence; condition and relation, can be scarcely over¬ “Iphigenia in Tauris,” rendered this spring cal character of the modern scores differs mean a certain tone; backwards, ~|, it has an advantage, from a mechanical stand¬ current from the spinal column to the position, condition and action. In rowing estimated. In -this way will come about in the still-standing Greek theater in the old from the character of the original, wherein FRAGMENT OF GREEK MUSIC IN AEOLIAN would mean a whole tone higher; gamma point, over the pianist, in that the wooden fingers, unchecked by tension and loss of a boat, handling a tennis racquet, or manip¬ and may be maintained that supple condi¬ city of Siracusa, Sicily, it was not solely modernism has out-Greeked the Greeks. MODE, IN MODERN NOTATION on its side, l_, the half tone between. lever and fulcrum are entirely supplanted tion which provides the freedom of chan¬ energy at the joints between. ulating a typewriter, a certain position is because of the paucity of Greek musical like Aeschylus, was a member of Hiero’s Rhythm was indicated by another simple by the arm and wrist of the player, and the nel for the flow of electric energy to the Sources of the Gree\ Music Nerce current has been heretofore re¬ particularly favorable to the muscular and fragments that they chose to adapt their court. The poetry of Pindar’s day was not system, _ _| |_| 1 I I which marked the hammer is directly subject to the muscular point of contact at the key. garded as something only similar to elec¬ nervous condition necessary to effect the scores to modern comprehension. Even had T IS BELIEVED that music came to so much to be read as to be listened to and duration of a tone. and-nervous energy of the’player. The This condition permits the immediate tricity, whereas now it is definitely claimed required action; and the efficiency of the there come down to them the full gamut of Greece from the East, introduced into watched, since dancing accompanied it. The technic of music has had a great character of the tone of the instrument is to be actually electric in its origin and action, its quality, speed, accuracy and transmutation of the musical concept of the classical Greek harmonies, the spirit of their Greek religious rites, then secularized and metamorphosis since the days of Greek of course quite another story. The point nature. At a recent Conference on Inter¬ force, other things being equal, depend brain into the physical tone of the instru¬ music could not have been more satisfying adapted to the drama. Much of it seeped, A “Modern” of Olden Times tragedies; but, were we to ask Euripides or of the comparison is that the pianist has pretations of Physical Education, held at largely upon the excellence of the position ment and forms the basis of a good touch. or more faithful; for, after having steeped by way of Byzantium, into Christian rituals LATO HAS LEFT us a little advice Sophocles whether they preferred their to treat the indispensable key-lever of the New York University, a recognized author¬ and condition. themselves in these tragedies, the two com¬ and, through the church, reached the on the use of the various modes in the music to ours, they might agree, with the piano as a part of his own playing apparatus ity, Dr. George W. Crile, of the Cleveland Why, it may be asked, in view of all the The Case of Paderews\i posers recreated skilfully the spirit which Western world as Gregorian Chant. Greek following: “We shall not allow either the throngs who sat watching their plays this of arm, hand and fingers, and so establish Clinic, is on record* as stating that “Mind foregoing, should condition be given a sec¬ IN THE LIGHT of what has been said was Greek, in music which was modern. music had to be written in rhythms suit¬ wailing Lydian or the soft and convivial spring, that the music of Giuseppe Mule a direct contact with the hammer in its is a product of electricity, generated by ond and not the first place ? it will be seen that ideal piano playing able to religious processions or to the Ionic mode, but only the Phrygian and and Ildebrando Pizzetti is quite as classical striking upon the string. Or, to reverse the matter.” Short-wave and infra-red radia¬ Here comes an important point for con¬ implies the maintenance of open lines of The Perfect Out-of-Doors dance. Frequently the dance was a slow Dorian modes. . . . The rhythm or measure and far more satisfying. statement and thus obtain a more truthful tions cause the ejection of electrons from sideration which is peculiar to expression communication from brain to keyboard, TWO THOUSAND four hundred and rhythmic moving around an altar, the poses must also be simple, suitable to the move¬ Mule’s music for “Iphigenia” is an ex¬ conception of the fact, his aim must be to the brain protoplasm, and these electrons dependent on finger touch on any instru¬ free from any and all possible short-circuit¬ five years ago, on the outskirts of this expressing various religious emotions. ments of a calm and moderate man.” Poor pression, as are the lines, of nostalgia. make the piano mechanism of key-lever, set up an electric current. The adrenal ment, and particularly on the piano. ing, and technic and interpretation at their ancient Sicilian city, there sat one after¬ We know that the Greeks used eight Plato, in the fourth century B. C., was Grecian women, slaves in a foreign land, and everything that lies between it and the gland is the power station, it seems; and nth power of perfection. noon, on a hill overlooking the blue Ionian modes, or diatonic progressions; and, since troubled with modernism and was prob¬ recall the delights of Greece; and the music contact of the hammer with the string, a “Gadgets" “the dynamics of the brain seem to parallel No one who knows what a notable figure Sea, a happy playright in the apogee of his an instrument could play only in the mode ably considered by the musicians of his component and sympathetic part of his is tender and hopeful. The play is full of the dynamics of the energy processes of T HAS BEEN already shown that the in world statesmanship Mr. Paderewski career. It was Aeschylus, listening to the in which it was strung, it was necessary day as an old fogy! playing apparatus. In other words, the I dramatic scenes; and the music, which is non-living mechanisms—such as an electric primary object should be the uninter¬ came to be in years past, to what extent sweet sound of music and pulsing with the for the musician, each time the music The zither, and its variants, the lyre, the thought should be not of striking keys but an integral part of the play, not merely an battery.” “Short-circuiting” of energy at rupted flow of electric current to the ter¬ he felt the bitter experiences and suffering rhythm of dancing girls. Like Prince varied in mode, to lay down his iiWrument barbiton and the barmiton formed the Greek of controlling hammers; and the mind must accompaniment, adds much to their effect. joints all along the line, from the spinal minal points of contact with the key-levers of his fellow countrymen, and also the Hiero at his side, he came from over the and take up another. The names of these “string quartet.” The oldest instruments had be directed through the key-levers and in¬ Adhering to the simplicity of sound made column to the terminal points at the finger which carry it mechanically to the strings effects of his several periods of severe ill¬ purple hills which formed the back curtain modes were derived in an interesting way, seven strings, a mystic number associated tervening mechanism to the source of musi¬ by the original Greek instruments, few in¬ tips, may no longer be regarded as simply and produce the tone. Now the so-called ness upon his physical constitution, can do for the vast semicircular theater newly each being called after the particular race then, as from the beginning of history, with cal tone, that is, the point of contact of struments are used, woodwinds predominat¬ figurative speech, but as a term applying to “action” of the piano is not a simple down- hewn out of the rocks where he sat. of people who most loved and used it. religious rites. When Greek modernists in¬ the hammer with the string. - other than wonder that the strain upon his ing. The voices sing in unison. physical fact. motion of the key at one end and an up- nervous system did not show more through Aeschylus was well pleased, pleased with Obviously the accomplishment ■ of this the actors, pleased with the lines, with the In “The Women of Trachis,” Pizzetti motion of the hammer at the other end. his marvelous technic and interfere more aim and the realization of the physical con¬ dancing, with the scenery, with the music. has divided his voices (all women) into Out'of'Date Methods A glance will show a series of movements with his public recitals. ditions necessary to bring it about are not The acoustics were perfect, and though ten three, four and even five parts. The orches¬ N DAYS GONE BY, when the Plaidy of “gadgets” between the key and the ham¬ Rigidity, improper balance between action tra is composed, for the most part, of two simple matters. A novice at the keyboard, I mer. The effect of these “gadgets” in thousand persons were seated watching, not if undirected, instinctively proceeds to hit system and the Stuttgart method were and resistance, tension, interference, ex¬ a note of the music was lost, not a whis¬ flutes, two oboes, English horn, three in vogue, the concentration of effort upon operation is to give to the hammer a cer¬ treme and misdirected force (electric clarinets, four horns, two trombones, bass the keys and overcome the resistance with tain elasticity, life and freedom that would pered word of the poetry. more or less rigidity of the hand and arm. a level and motionless back-of-the-hand— energy) at any or all of the possible points But the two thousand four hundred and tuba, violins and bass viols. Perhaps, be¬ often tested by an effort to carry a coin be impossible if it were directly attached of contact with muscular tissue in the play¬ cause of the limitations of outdoor acoustics, In a very short time he will have estab¬ to the key. That is, there is not a direct five years have passed, and the theater on lished stiff conditions at the wrist and up upon it—generally resulted not only in ing mechanism, in brief, short-circuiting; the side of the Sicilian hill is again neither violoncellos nor violas are used. tight arms and stiff wrists but in weakened transference of impulse from the key to any one or any several of these will result Percussion instruments augment the im¬ into the arm, the getting rid of which will the string but a series of devices which thronged with people. Though for this later on give him much trouble. and stiff fingers as well, the natural conse¬ in a hard and unsympathetic tone and may time the author is not present, two princes minence of doom. With an invocation to quence of short-circuiting the current at modify that impulse and give to the ham¬ mer its elastic vitality. come to an extreme in “pounding.” are watching the performance, Victor Em¬ Aphrodite, the music passes from calm to Li\e a Tennis Player relay points or switchboards in the joints manuel, King of Italy, and his son, the agitation, from an idyllic dream to a reali¬ of the elbow or shoulder. A similar modification of the impulse SELF-TEST QUESTIONS ON zation of futility. HE IS LIKE the average beginner in given to the key is of equal, if not of the Prince of Piedmont. At the first blast of tennis. Nothing is easier than to Since those days the principles taught by MR. SALTER’S ARTICLE The artistic success of these productions greatest, importance in the production of the trumpet, again a huge crowd becomes take a racquet and hit the ball in much the Leschetizky and Breithaupt, William Mason 1. What is one of the worst of faults in at Siracusa is largely due to the music; the best tone of which the instrument is silent, that not a note of the music be lost, same manner as one would a baseball with and A. K. Virgil, and by their numerous piano playing? for no Greek play can be well produced capable. That modification is a certain not a word of the poetry missed. disciples and followers, have largely super¬ 2. What is the weakness of the piano for without it. Poetry, dancing, scenery and a bat. In the eagerness to play and to get balanced condition of the hand in the re¬ the enjoyment of the game, one forms the seded the old notions and brought about tone control? The Perfect Stage Art music have all been handled with amazing lation of the fingers to the wrist, as a result . habit of hitting the ball in one and the same more musical and artistic results in play¬ 3. What condition should exist from shoul¬ HAT IS IT that draws this crowd skill, but it is the sweet pulsing of the music of which a depression of the key will W way in all the various forms of play. The ing, so that present standards are far above der to finger tips? year after year to witness the Greek that makes us feel that we sit, not today cause an up-push of the wrist. That consequence is, before one is fully aware those of a generation ago. 4. What are the chief causes of “short- plays at Siracusa? Is it the satisfying pro¬ is, the wrist will tend to rise hot from with the princes of Italy, but two thousand of it, he has become almost incapable of ac¬ circuiting" in piano playing? portion of the four elements of Greek an effort to lift it but because of the re- four hundred and five years ago with quiring proper form in the simple and easy 5. What are three vital elements in form drama? These elements, all equally vital, Prince Hiero, in the theater carved out of •New York Times, April 21,1933. action or rebound resulting from resistance, development? all coordinate, are scenery, poetry, dancing the side of the Sicilian hills. SEPTEMBER 1931,. Page 521 THE ETUDE THE ETUDE Page 520 SEPTEMBER 1931, Georges 'Bizet and the True Story of (farmen Band and Orchestra Department ‘By the Tooted French PianistDecturer Conducted Monthly by

Maurice Dumesnil VICTOR J. GRABEL FAMOUS BAND TRAINER AND CONDUCTOR

seen in excellent health, one of his inter¬ IT IS USUALLY believed in musical an outburst of hilarity among the audience found a small crowd of music students, ex¬ circles everywhere that the initial fiasco and a fit of fury on the part of the con¬ cited already and filled with enthusiasm. preters should have had the foreboding that his last hour was drawing near. One of “Carmen” was so complete that Bizet ductor. The orchestra, too, played without Soon they noticed a couple of men strolling died shortly afterwards of a broken heart. conviction or enthusiasm. The chorus was back and forth on the sidewalk: Bizet and night during the Trio of the Cards, Mme. I realize fully that what I am going to worse; imagine those poor women, accus¬ Hartmann, the publisher. They rushed to Galli-Marie was impressed deeply as she A ‘Discussion of (fiefs write will disappoint lovers of romantic tomed to the conservative ensembles of them and uttered their praise, but Bizet read in them an evil omen. Her heart narrations. I know that the opinion has La Dame Blanche, suddenly obliged to sadly answered: “My poor young friends, started beating violently and she sensed a it is very kind of you, but your congratula¬ great tragedy hovering in the air. She been advanced that Bizet, in his dispair, fight, to dance, to smoke cigarettes! The harp, though this involves the use of mul¬ leger lines. Thus the part of the first Some European band publications pro¬ tions are probably the only ones I am going made an effort and finished the act, but THIS DEPARTMENT has received sought death because his cherished hopes public, as ever in Paris, was divided in two tiple leger lines below the bass staff and violoncello, as cast in the treble vide the tenor (first and second) trombones upon leaving the stage, she fainted. As many inquiries concerning the vari¬ lay shattered at his feet. But the truth sections: in the lower seats and the boxes to receive tonight. I feel it’s a terrible above the treble staff, with the 8va as an only with the tenor clef. A comparison she came to, they tried to comfort her, to ous clefs employed in writing music must prevail. The failure of “Carmen” is were the society people, the nobility, the failure. There is no remedy. I am lost.” assistant. Violin music also reaches an of these three clefs may be helpful here. restore her piece of mind. Still, the omen for band and orchestra. Confusion is caused nothing but a legend, a story. The first financiers; in the upper galleries, the intel¬ extreme altitude, but it has been confined lingered. She did not fear for herself, by the fact that music is sometimes written presentation took place on the third of lectuals and the music lovers. While the A Mood Ma\es History to the use of a single clef. however; so she sang to the end of the in two or three different clefs for a single March, 1875. Exactly three months later, former were somewhat shocked by the Music for the viola is written mostly OF COURSE the prediction of the performance. But the next morning she instrument, while many amateur players the third of June, the day of Bizet’s death, libretto and spread through the corridors with the alto or viola clef; but the treble master did not come true, but his learned that Bizet had passed away during have been taught to read in but a single it had reached thirty-three performances! declaring that the work was “immoral,” mind was set on this pessimistic outlook, clef is employed for the extreme upper the latter showed great admiration, ap¬ the night. This case, authentic as it is, may clef. I would like to know of another work rep¬ and it would not be surprising if the popu¬ While much music in simple style em¬ register. The purpose of using more than plauded warmly the famous Toreador Song well be ascribed to mental telepathy. Un¬ resented at the Opera-Comique in the last lar story of the failure started right there ploys no more than a single clef for an in¬ one clef in writing instrumental parts is thirty years, apart from “Louise,” which and the Quintette, and encored the prelude doubtedly it will satisfy those who are and from this mental attitude! However, dividual instrument, the violoncello, bassoon the same which originally pertained to the has had such satisfactory results. Only a of the second act. The next performances, sentimentally inclined. It borders on the Bizet came back to Cesar Franck’s class a and trombone players of a symphony or¬ writing of vocal parts—that of confining few days ago M. Ch. M. Widor, the eminent as is natural, were more accurate, and in uncanny. But, for truth’s sake, I must few days later, obviously looking and feel¬ chestra or contert band -may find it neces¬ the parts as much as possible to the limits secretary of the Academy of Fine Arts, the absence of the snobbish, blase elements again shatter the second part of the “story’’ ing better. He immediately spoke to sary to read from two to four different of the staff and of avoiding the excessive whose extraordinary memory permits him the reaction of the public became more and born from fantastic imaginings. Franck: “Let’s see. I need one of these clefs. Many musicians will agree that it use of the leger lines. The compass of the to remember the most amazing details, was more enthusiastic. Bizet did not die of a broken heart as kind young friends for a favor, but it may would be better if fewer clefs were used viola is Many American trombone players in telling me: “That story of the failure is many insist that he did; not, either, of be a favor of long duration.” in the writing of music; and they may be amateur bands have been at a loss as to a lie. ‘Carmen’ was a great success, at Misinterpreted Favor heart disease as all the newspapers printed Ex. 3 . M “What is it?” Franck questioned. thankful that there are a lesser number how to read from a part with the tenor once, with the public. The fact that sev¬ at the time. His death was a most natural with the bass. PERHAPS the story of the failure may “Well—to play the harmonium at each used than formerly. clef and then to play this without having eral critics commented upon it unfavorably one. Because his wife, the daughter of his In the symphony orchestra of today the have originated from Bizet himself and performance of ‘Carmen.’ ” In earlier times individual clefs were to rewrite it with either the bass or treble didn’t change the excellent reception. I teacher Halevy, was what we might call parts for trombones (there are two tenor from his tremendously sensitive nature. Cesar Franck, serious as he was, laughed used for each of the various voices of the clef. If such players read on the treble had a number of friends who were so en¬ “a little bit queer,” he was in the habit of trombones in Bb and a bass trombone in Perhaps he had founded exaggerated hopes almost heartily. To his knowledge there vocal ensemble—bass, baritone, tenor, alto, The violoncello employs the bass, tenor, staff readily, they should have no difficulty thusiastic that they attended alt the per¬ attending, himself, to some small duties of G) have their parts written on the bass on that first night, and it is quite possible was no trace of a harmonium part in the messo-soprano, soprano. The purpose of and treble clefs, though many writers re¬ with these parts. With the tenor clef used formances 1” the household. Early one morning, he left staff and the positions of the slides are that a reception judged by his friends as score. But Bizet continued: “I’m in ear¬ these many clefs was to keep the voice parts frain from using the treble clef. The open¬ (with the fourth line for the location of C), “But,” the ‘esprits chagrins’ might ob¬ his bed and went down into the kitchen regulated according to the actual pitch of favorable may have caused him a great de¬ nest. I absolutely need a harmonium back as much as possible within the confines of ing of the “William. Tell” Overture, by the part is played in pitch. By altering ject, “the work was then taken off the bill!” scantily dressed in a light peignoir, to the tones to be produced. In former times ception. Indeed, during the performance, stage, to support the pitch of Lherie, the the staff. Rossini, will illustrate the use of these the key signature by the simple expedient Of course it was. At that time the settle the weekly bill of the washerwoman. alto, tenor, and. bass trombones each used he retired into the director’s office. When tenor. He can sing correctly when he’s The following will illustrate the method three clefs—this portion of the beginning of dropping the last two flats—retaining Opera-Comique did not play continually; The vicinity of the river made the air its own clef. Thus the symphony player it was over and a number of admirers came near the footlights. But at the beginning of writing for these various voices: of the overture being written for five solo any others as the signature of the new key the summer season had arrived. So the chilly, even in June. The master caught must be able to read readily with at least to embrace him, to shake his hands, they of the second act, when he has to sing violoncellos. —or by adding two sharps, the part may theater was closed! But why not mention cold and pneumonia took his life within Ex. 1 three clefs. found him the prey of grief, almost despair. ‘Halte-Id, halte-ld, dragon d’Alcala,’ in back be considered as being in the treble staff that at the re-opening in September “Car¬ two days. Such is the true version, as I Bass Clef ^ «. In the concert band the parts for trom¬ He took the arm of Ernest Guiraud, his and all alone, why—he starts in G and .Ex.4 with C on the third space. It then becomes, men” re-appeared, and the success grew heard it from the mouth of Ch. M. Widor. bones are written with three different clefs. greatest friend (later the teacher of Claude finishes in B major—and even, horror, in 1st Violoncello Solo of course, a transposed part. steadily until the fiftieth performance was Debussy), and until dawn both wandered Once more the amateurs of sensation will In America only the bass and treble clefs B flat minor! A few discreet harmonium In this way, these phrases for the trom¬ given in the following January. aimlessly through the streets of Paris, re¬ be disappointed. But wasn’t this death are used, the parts being duplicated. Use squeals may give him a little assurance, bone, with the tenor clef, counting the details of an evening which fitted for Bizet? His art was simply and Baritone Clef of the treble clef for trombone and A 'Woman’s Way with the hope of acquiring, one day, better euphonium (or baritone) is confined largely Ex. 13 appeared to the composer as a disaster ear training!” profoundly human. His song was under¬ AT THAT time, however, it disappeared while his companion tried to convey to him stood by the elect and by the layman alike. 2nd Violoncello Solo to amateur players. Professional players Vincent d’lndy took up the unexpected CD EF GA BC ■lx. for a longer period of seven years. the conviction, the confidence, that filled his He spoke a language that reached the use the bass clef parts almost exclusively, life =U-iH job most willingly. During thirty per¬ But there was a reason: owing to the heart. Poor Bizet—what compensation he hearts of all. He was one of the people, Soprano Clef though they are expected to be able to read formances he maintained Lherie’s voice in financial difficulties of the director, Camille would have known, had he only lived an¬ wrote for the people, and died a plain death, readily with the other clefs. a straightforward way. This entertaining :rc> 0 » 1 0 11 1 p—“ - • - j 3rd Violoncello Solo du Locle, the doors were closed until the other ten years : a worldly apotheosis which like one of the people. When written in the treble clef the trom¬ advent of M. Carvalho in August, 1876. Guiraud already foresaw and predicted! episode, reported by d’Indy himself, is quite C D EF GA BC bone and euphonium parts are transposed, significant; it discloses to us an unfamiliar It happened that the latter’s wife, Mme. It will be of particular interest to musi¬ SELF-TEST QUESTIONS ON the actual pitch of the instruments being aspect of Bizet, friend of Cesar Franck and Mezzo-Soprano Clef ' ^ will become a transposed part, by changes Miolan-Carvalho, was a renowned operatic cians to know that Bizet universally labeled M. DUMESNIL’S ARTICLE 4thVioloncello Solo one tone lower than the part as written. admirer of this great genius of religious of key, when the treble clef is used. singer. Therefore, the maintenance of a as an operatic composer, showed a very 1. Where and when was “Carmen" first The scale of B-flat for either of these in¬ music and mystic inspiration. CD EF G# A BC work on the active list depended mostly deep appreciation for sacred music. In given? struments becomes the scale of C when upon the likes and dislkes of that impor¬ fact, the students who attended the organ 2. What was Bizet’s manner of composingf written in the treble clef. Thus, identical tant person from a vocal standpoint. Since Signs and Omens ^Aho Clef^ ^ ^ ^ o ^ ^ 5th Violoncello Solo class of Cesar Franck at the Conservatoire 3. Hozv may the seven year’s disappearance scales for the trombone would be “Carmen” included no part favorable to from 1872 to 1875 had noticed a man who AND NOW, as to the other “story,” the of “Carmen” be accounted for? Mme. Carvalho, it was natural that it came very often, sat in back of the hall Ex. 8 A mysterious death of Bizet at Bougival, 4. What, actually was the reception of should be barred from the posters, especial¬ and remained silent and attentive. This a death so sudden, so unexpected, that many “Carmen” and how were the false ly as it had been presented by the preced¬ music lover listened to the remarks of wondered whether it had been a natural rumors started? ing direction! But this ostracism could Cesar Franck with great deference and at¬ one. It is very strange, very curious, in¬ not last later than 1883. During that in¬ 5. What were the circumstances of Biset’s Some band publications now supply parts tention. No one in the class knew who he deed, that, soon after the composer had been death? terval of seven years the work had made its was, and of course no one would have dared only with the bass clef—and this is as it way throughout the world as a result of should be. The beginner can be taught to inquire from Franck as to his identity. These have been practically discarded for its splendid start at the Opera-Comique. play from the bass staff as readily as from Still, on the 2nd of March, 1875, the mys¬ voice writing; but the alto and tenor clefs Under the pressing request of public Practicing Difficult Passages the treble, and the trombone is no longer terious visitor spoke for the first time: have been retained for instrumental writing. opinion, Carvalho had to come to a better a transposing instrument. The widespread “My young friends,” he said with a By Altha Richards Sloop The Treble (or G) clef and the Bass (or understanding of his own interests, and he use of the treble clef in this country for charming smile, “my name is Georges F) clef are the ones now most commonly soon decided to produce “Carmen” again. Bizet. For a long time I have been watch¬ the trombones and euphonium is due, no Ofttmes students dislike practicing the It has never left the repertoire since then cent, the others being played pianissimo. doubt, to the fact that cornet and clarinet ing your work and I wanted to find a way difficult passages they encounter in selec¬ and even now proves to be the safest and Then he plays the passage the way it is players have often, found it necessary to to show you my appreciation. To-morrow tions. The following suggestion may be biggest asset of the house. a new opera of mine, ‘Carmen,’ will be written. It is surprising how much easier learn one or the other of these instruments Still, speaking from the artistic “inside” of particular help and besides create an in¬ presented. You are eight in this class. teresting way of practicing. it becomes. The practicing itself becomes upon short notice, so as to fill a vacancy standpoint, the night of the first perform¬ Here are two tickets. It is very little, un¬ a delight. While concentrating upon the in amateur bands. The treble clef having Separating the particular passage, the ance on March third, 1875, had been far fortunately, but, as you know, one can only accented notes he forgets about it even been the only one with which they were student plays it slowly the first time the from auspicious. Many contrary elements give what one possesses.” There was being difficult. It may be necessary to acquainted, they found it easier to play way it is written. Next he repeats it slowly seemed to have conspired. At one moment, nothing to do but draw lots. The Goddess play each hand separately at first, depend¬ the new instrument with that clef and thus and accents just the first note, playing the as Mme. Galli-Marie sang pianissimo, the of Fate designated, in the first place, Vin¬ be able to devote all their attention to the others softly. Now he repeats again and ing upon the difficulty of the passage and The use of the treble and tenor clefs pre- ; big drum player who had made a mistake cent d’Indy. So the next night young mastery of its technical intricacies. accents just the second note. He proceeds the ability of the pianist. Gradually the vents straying too far from the upper con- ■ in counting his silent bars broke out with d’Indy was at the Opera-Comique. After The bassoon, because of its extended m this manner until each of the notes in speed is increased until the student has These two clefs suffice for the display of fines of the staff and saves the player from two formidable thunderbolts! This caused the first act he went out into the street and turn has received special attention and ac¬ attained the desired tempo, but he must be the entire range of the piano, organ, and the necessity of reading a large number of l the treble staff. (Continued on page 551) sure to play it correctly each time. THE ETUDE SEPTEMBER 1934 Page 523 Page 522 SEPTEMBER 1934 THE ETUDE The Standard Music Extension Study Piano Course for Teachers and Students The Teachers' Round Table A J^ew Monthly Etude Feature of Great Importance Conducted Monthly by

<8y Dr. John Thompson PROF. CLARENCE G. HAMILTON, M. A. PROFESSOR OF PIANOFORTE PLAYING, WELLESLEY COLLEGE All of the Music Analyzed by Dr. Thompson will be Found in the Music Section of this Issue of The Etude Music Magazine

No question will be answered in these columns unless accompanied by the full name buona notte chance to romp over the keyboard in legato which sounds quite pretentious under the majestic effect. Controlled relaxation is and address of the zvriter. Only initials, or a furnished pseudonym will be published. By Ethelbert Nevin passages in sixteenths. The second theme hands of two pianists. It is one of the folk imperative for elasticity and to avoid the tunes which Brahms made popular in his bete noire of “banginess.” Dynamics and A popular favorite from Nevin’s “A appears in staccato chords (use forearm and modernistic “Nine Etudes, Op. 27.” ten; and as a safe guide for all phases of arrangement of Hungarian dances for the tempo are well indicated, so that the in¬ Day in Venice,” Buona Notte is being pub¬ staccato) and is played robustly—a con¬ Daily Studies since she w_ „_=. — Bach’s “Three-Part Inventions” are apt technical work, they are now, as ever, un¬ piano. In the Czardas, as in all Hungarian terpretation of this piece offers no real again nearly at the lieginnii.„ - lished for the first time in sheet form. A trast to the pianissimo of the first theme. In the “40 Daily Studies” ’- completed Czerny’s Op. 599. to become dry, if given in too large doses. surpassed. music, the mood is erratic, changing abrupt¬ difficulties. ?, No. 1 has a metronome mt L mi Clementi’s revival of interest in this music is more The tempo is moderato in this number and Also she i: After dealing with two or three samples of For a comprehensive collection of scales ly from fast to slow, loud to soft, major for a half note. Is it possi than probable, in consequence. Try to im¬ the mood playful, in the style of a scher- also enjoys simplified editions of the them, I advise you, for this type of work, and arpeggios, I may refer you to James to minor, and so on. These changes are agine a twilight night in a Venetian gon¬ sando. Put this fine little teaching piece THE MESSAGE OF THE VIOLET classics. She needs practice in play¬ to proceed directly to the “Well-Tempered Francis Cooke’s “Mastering the Scales and clearly indicated in the edition presented. In the Foreward to the same ing in different keys, so I would like dola, the quietude of evening punctuated by on your list of things worth while. By Mathilde Bilbro it says that, by practicing you to suggest a book of pieces suit¬ Clavichord,” from which samples may be Arpeggios.” For books on piano teaching, The important point in playing this music, chiming bells throughout the old city, as Another four-hand piece for young play¬ able to her age, in which various carefully chosen, in graded order. consult Tobias Matthay’s “First Principles is that both performers agree on the exact ^'through °them in 'three*1 or keys are employed.—A. K. the Angelus echoes over the waters. The THREE VARIATIONS ers. Miss Bilbro's name has been for years of Pianoforte Playing” and his “Musical amount of intensity to be applied at any this the first t tries them After your pupil has completed Czerny’s music opens andante religioso. The intro¬ By Ludwig Van Beethoven synonymous with superior teaching mate¬ Interpretation;” also my own “Piano given point. A perfect ensemble assumes, Op. 599, I suggest that you give her a set (Concentration of Scales duction should be played in the manner of This month the Music Section of The rial ; and it is safe to assume that players Teaching” and “Touch and Expression in of course, a great deal more than the ele¬ 3. I read once that Liszt prac¬ of studies of a quite different type in the I am planning to enter a musical a solemn hymn, in broad sonorous style, Etude includes three of “Six Variations” of this simple duet will find interest and Piano Playing.” mentary requirement of simply “keeping ticed the ”40 Daily Studies” in the “Thirty Progressive Studies,” Op. 46, by college. Meanwhile I am trying to observant of all pauses indicated in the on an original theme by Beethoven. The much of educational value in its measures. different keys. I wonder whether keep up my technic, without a teacher. 2. The study of the “Two-Part Inven¬ text. As'the introduction glides off smooth¬ text over the theme reads andante quasi time together.” he practiced a study at once in all Stephen Heller. These are distinctly on In the past year I found that when I the different keys, probably with one the lines of phrasing and expression and practiced either arpeggios or octaves tions” may begin in about the third grade. ly into three-quarter rhythm one is re¬ allegretto. Directions for playing grace or two repetitions in each key, or my wrists became stiff and my fore¬ I should reserve the “Three-Part Inven¬ DANCE OF THE COBBLERS PLAYFUL ECHOES whether he practiced it as Indicated, should appeal especially to a mature and minded of the gentle swaying of the gon¬ notes are given at the bottom of the page arms fatigued. I therefore omitted tions” for a somewhat later period, say the By Frederick A. Williams By Hazel Gilbert In whatever key he would choose.-— musical mind. That her mind is of this these and concentrated on scales. dola The end of measure 24 finds the of music. It is well to remember that in S. H. Is it wise to go on thus, advancing fifth grade. A little piece for junior readers, in six- character is shown by her fondness for the melody carried in the upper voice of the playing the older compositions, all grace The rhythmical tapping of the cobblers’ 1. In assigning a metronome mark to in scale proficiency at the expense of 3. Pieces which should prove pleasing eight rhythm. Its two-note figures echo classics. the arpeggio aud octave work, and right hand against ascending E-flats in the notes are played on the beat. The harmonic hammers is in evidence through this piece. such studies, the editor frequently puts and profitable to boys and girls in these left hand. These should have a bell-like one another up and down the keyboard and A book which will systematically and structure of the first theme can be traced The persistent taps are heard in the right down what he considers an extreme limit teacher : or should I practice them re¬ grades are: Poldini, Tarantella in A minor; quality of tone. Play this theme with gentle contrast with more extended phrases which pleasantly acquaint her with the various gardless? What harm, if any, can quite easily through the first Variation hand, in rhythmical figures which vary in towards which the player should work, come of my neglecting this phase of Scharwenka, Barcarolle, Op. 62, No. 4; rubato, preserving carefully the rhythm of which should be played with smooth, even intervene. keys is “Short Pieces in all Keys,” by length from three notes to more extended rather than a speed which it is necessary practice? Naturally I am interested Grieg, Rigaudon, Op. 40, No. 5 and March the rolling gondola. legato. The second Variation is composed Frederick A. Williams. in practicing as rapidly as possible; phrases. Play the staccato notes and ob¬ or desirable to attain. Hence I should not but I would forego this if It were for of the Dwarfs; Saint-Saens, First Mazurka. The second theme (measure 25) reem¬ of triplet figures played most effectively serve the accents exactly as indicated. THE JUGGLER pay too much attention to such a mark, but the best. phasizes bell-tones in the left hand (quasi tvith rolling motion. The third Variation Good, clean finger work in the right hand Perhaps you can suggest pre-octave By Ella Ketterer simply work towards it as far as.clear and Vhe ‘Reason for (pertain and pre-arpeggio exercises. Do you campanella) and finally introduces the fare¬ consists mostly of diatonic (scale-like) fig¬ and an even, steady pace in the left are Sonatas for Recitals The Juggler employs interlocking figures accurate execution will permit. . Under no know of any studies written expressly well motif (addio) at measure 42. Nevin ures and demands clean, accurate finger for advancing wrist flexibility? My Which sonatas would you suggest clearly necessary to an acceptable perform¬ which present an interesting problem in Signatures brings this work to a close with a repetition legato. Play these variations simply and circumstances would I advise extremely hand is broad; fingers are short; for recital work for young ladles in ance of this piece. pianism for young players. Observe the forearm is muscular : and wrist, thick college who play such composers as of the first theme. with color, avoiding, as a matter of musi¬ fast playing the first time that very rapid position written in three sharps, (though loose).—I. S. Chopin, Rachmaninoff and Bach? I cianship and good taste, the chills and fever accented notes, and pedal only where indi¬ studies are attempted. Leave the matter how may one recognize whether it prefer sonatas that are not difficult, RUSSIAN DANCE cated. is written in the key of A major or Any form of technical work which avoids but showy.—Mrs. T. E. W. SEA SPRAY interpretation sometimes heard. Remem¬ of mere speed to a later occasion, when By H. Engelmann F( minor? In scales I find no such stiffness in the wrists can hardly fail to be I think that the following sonatas should By Paul Du Val • ber that the text reads andante quasi alle¬ there is danger of too much, rather than of difficulty, since I know that the Sonority, precision, power and relaxation too little, of it. minor is written a minor third below beneficial to you. Best of all, however, is meet your requirements. The general grade This charming piece by Paul Du Val is gretto which signifies that the tempo is slow HEADS UP! FORWARD MARCH! the tonic of the relative major scale. are necessary to the best performance of 2. Doubtless it is intended that such a scale practice which is derived and empha¬ of each is given: Haydn, “Sonata No. 7, vivacious in mood. The tempo is lively but the mood not too somber. By Berniece Copeland 2. Also please tell r this number. The chords must have a “stunt” should be performed only after -the sized from your own experience. in E minor” (Grade 6) (This is No. 7 in and the tone for the most part should be singing tone quality, to produce the proper An easy and interesting march for young This practice, moreover, I believe you Cotta Edition, but No. 2 in Presser Edi¬ CZARDAS player has become well versed in the tech¬ very light and thin in quality. The com¬ sustained effect. Exactness is essential to players. The contrast between legato and could well supplement by a certain amount tion) ; Beethoven, “Sonata, Op. 14, No. 2” Hungarian Folk Melody nic of the studies. As I suggested in the position is written in prelude style and avoid untidiness in the chord progressions. staccato should be sharp. The trombone scale dowi o F major? Why of regular work in broken chords and oc¬ (Grade 6) ; Mozart, “Sonata in A major” affords a fine arpeggio study. The triplet foregoing, I should always consider the e flat and Here is a four-hand piece, easy to play. Power is necessary for the maestoso or phrases in the left hand are to be well keep adding to il 3 do with taves, in which the hand is thrown loosely —Theme with Variations (first movement) figures should snap crisply. The extended mere matter of speed as secondary to the defined in measures 9 to 12. This piece sharps?—C. W. S. from side to side, with the wrist flexible (Grade 7) ; Schubert, “Sonata in A minor” legato passages should be heard with each way in which they are executed. 1. Consult the last chord in the com¬ will sound best played without pedal. 3. While I cannot say exactly how Liszt and somewhat raised. The exercise given (Grade 7) ; Beethoven, “Sonata in E-flat tone individually clear yet all smoothly position. If this is founded on the notes A, practiced his daily five-finger exercises, I below will make a good beginning. Others major, Op. 31, No. 3” (Grade 8) ; Grieg, linked together. Use a rolling motion for C#, E, you will know that the key is A may suggest as a useful method that you can be easily invented. “Sonata in E minor, Op. 7” (Grade 9) ; and sparkle and, to avoid a smeary effect, slight PLAYING SOLDIER major; but if it is founded on the notes F#, decide upon a simple formula, which you Schumann, “Sonata in G minor. Op. 22” finger articulation. Exact proportions By D. B. Briggs A, CJJ, the key is F# minor. The Daily Practice Pledge then apply to all the keys in chromatic suc¬ (Grade 10). vary, naturally, with individual perform- Another march, the first theme of which 2. The principal note of the scale, out¬ cession. Such a formula is as follows: gives practice in chord playing. The sec¬ side of the tonic (C in the scale of C) is "Tall oaks from little acorns grow” wrote an eighteenth VALSE ENCORE ond theme, in the traditional key of the Ex. 1 the dominant (G in the scale of C). Hence Hurtful Practice By James Francis Cooke century poet. In our July number we suggested an Etude subdominant, has the melody in the right it is generally customary, in establishing has small This month brings us a musical subtlety Music Expansion League, which met with a really magnificent hand, played legato against a broken chord the order of scales, to go repeatedly from vanced for her age. Although from the pen of James Francis Cooke. It accompaniment. one dominant to the next, until the circle plays Bach’s “Inventions,” and omte response. Large numbers of people at once set about calling works of the same grade, she can bears a subtitle “The Corot Hour” and, is complete: C, G, D, A, E, B (or Cb), barely reach an octave. For the past like certain works of the great painter, it upon the families in their neighborhoods and in promoting F# (or Gb), Db, Ab, Eb, Bb, F, C. Often, two months she has complained of a severe pain through the palm of each seeks to depict the elusive “twilight of the music study along the lines which The Etude Music Maga¬ ‘Double Wor\for Double however, the circle is made by using dom¬ (r means hand thrown to the right; /, hand hand, running down to the fingers. inants up to six sharps (C, G, D, A, E, B, thrown to the left.) Is this the result of over-practice? Many pleasant surprises lie in store for zine has advocated for many years. In a great many instances Should the hands be given a rest Notes Fit) and subdominants to six flats (C, F, Bb, This can be used also by the left hand, whenever this pain begins; or will the pianist playing this number for the first they have induced their musical friends to pledge themselves to Eb, Ab, Db, Gb). It is quite possible, of by reversing the thumb and little finger on more practice eventually overcome the trouble ?—Mr. G. L. R. time. The harmonic progressions are treat¬ start anew and to practice a certain period every day—say, fif¬ By L. G. Platt course, to study the scales in either of these their respective notes. ed freely and have the flavor of modern orders, or even in the chromatic order, if Undoubtedly the pain of which the pupil A passage in double notes is apt to cause improvisation. The rhythmical line re¬ teen, twenty, thirty or sixty minutes, as circumstances dictate. you prefer. complains is caused, to a great extent, by • the pupil particular trouble. This may be technical Exercises and mains intact while the melody weaves its To those who are willing to take up this work of interesting her attempt to compass stretches that are, graceful way through varied keys, some¬ overcome by having him first play the By adding o r substituting other figures. Systems for the present at least, too wide for her times by modulations, sometimes by sudden their neighbors and friends, and of securing their pledges of higher notes (with the proper fingering) thus: Studies with Rhythmic Interest 1. I have pupils who play the hands. There are two ways in which this transitions. The real charm of this music daily practice, we shall be glad to send, entirely free, the Sesqui- and then the lower ones (also with the I have a pupil who is working on “Czerny-Liebling Studies, Books 1 and trouble may be helped: (1) by having her is dependent upon graceful phrasing, clean proper fingering). A few times practiced Ex. 2 the third book of Ilanon’s “Virtuoso 2.” They have had all major and Centennial Booklet, "Two Centuries of American Musical Com¬ Studies” and who plays creditably minor scales and chords In two oc¬ rapidly “arpeggiate” individual intervals; pedalling and controlled rubato. The Coda in this way, the passage will go more such pieces as Liszt's Licbestraum taves, then in four octaves with ar- so that the upper and lower notes sound is modern in vein with its progression of position,” containing portraits of four hundred American easily. and Mendelssohn’s Itondo Capriceioso. Eeggios. Can you suggest exercises I have given her several of Bach’s or fingers, arms and wrists ? Is there almost together; and (2) by frankly Omit¬ chords in whole tones, and it closes with Composers and thirteen of their compositions, in miniature in¬ Often a piece will be quite simple except “Three-Part Inventions” but feel that a honk no teaching that I could pro¬ ting the lower of two notes, if this can be I would like something for her with the popular chord of the added sixth. cluding the editor’s- noted composition, Sea Gardens, as well as for a measure or two of double notes, and le Mason system still used ? done without seriously impairing the har¬ this manner of presenting it smooths out more rhythmic interest. Can you the story of the part that The Etude has played in our musical suggest anything in the way of a book mony. Moreover, I should give her music SECRETS OF THE ATTIC an otherwise almost insurmountable dif¬ of studies?—Mrs. J. O. E. (such as Bach’s “Two-Part Inventions”) By Mrs. H. H. A. Beach history. For all who send in their names as members of this ficulty. 3. Please suggest some pleasing For a standard collection of advanced selections for boys and girls in their in which such devices are unnecessary. Once more Mrs Beach waves her musi¬ Etude Music Expansion League, before September thirtieth the Experience with Various studies of the romantic period, I may refer early ’teens who are using “Czerny- Allow her hands plenty of time to grow you to the two books of “24 Characteristic Liebling, Book 2.”—B. W. cal wand and this time carries us grown¬ editor will personally autograph this composition. Keys to their full capacity, and discourage her ups back to childhood and “dress up days” “The production of a Stradivarius vio¬ Studies, Op. 70,” by Mendelssohn’s friend 1. As to technical systems, I cannot sug¬ attempting technical feats that are beyond in attics of happy memory! Her composi¬ What material should I use after lin zvas quite as great a scientific achieve¬ Czerny's Op. 599? Or could, per¬ and teacher, Ignaz Moscheles. Perhaps gest a better one than Dr. William Mason’s her years! There is a large repertoire of tion gives both right and left hands a ment as the building of a locomotive.”— haps, another of Czerny’s follow, his the first of these books may be sufficient “Touch and Technic,” in four books, to the best music suitable for small hands. Op. 299, for instance, or the third for your purpose. They may be accom¬ Gladstone. book of Mathews' “Graded Course?” which you refer. Dr. -Mason’s ideas are as Even concert artists select pieces to suit The student in question is a mar- panied or followed by Arthur Foote’s fluent clear and practical now as when first writ¬ their hands and style of playing. Page 525 THE ETUDE SEPTEMBER 1934 Page 524 SEPTEMBER 1934 FASCINATING PIECES FOR THE MUSICAL HOME V)he Story of Dixie BUONA NOTTE and its GOOD NIGHT The republication in sheet music form of the famous “A Day in Venice”by Ethelbert Nevin has given new impetus to these poetic works. Buona Notte is. one of the most ingratiating of the group. 1Picturesque (fomposer ETHELBERT NEVIN, Op. 25, No. 4 Grade 4. Andante religioso

NO VISITOR to Mt. Vernon, Ohio, lowtails. Their first performance in the clared that “If the Bryants should come away without having hotel made such a hit that there were don’t like that, you can’t made a pilgrimage to a solitary immediate professional engagements and write anything to please grave in Mound View Cemetery. A mas¬ early fame. them.” sive block of red Scotch granite marks this The first name of this aggregation of “But what is it to be tomb, and deeply chiseled on its polished “colored artists” was The Virginia Min¬ called?” queried Daniel. front appears the following inscription: strels. They furnished mirthful entertain¬ “You have it right in the ment as delineators of Negro life on the chorus. Call it Dixie,” re¬ EMMETT plantations of the South. They started plied the knowing Catherine. DANIEL DECATUR 1815-1904 with a membership of four; but others It was, however, to be first WHOSE SONG "DIXIE LAND” were gradually added and the larger Vir¬ published with the title, “I INSPIRED THE COURAGE AND ginia Minstrels visited all the more impor¬ Wish I Was in Dixie Land;” DEVOTION OF THE SOUTHERN tant American cities. An attempted season and, under this name it was PEOPLE AND NOW THRILLS THE in England met, however, “with chagrin first sung by the Bryant HEARTS OF A REUNITED NATION and defeat”—the British public of that Minstrels, at 470 Broadway, period having no taste for such coarse fun. New York, and thus long Another striking and deeply significant This early minstrel troupe, nevertheless, appeared on their programs. monument is to be seen on the front lawn served as the forerunner of the later col¬ It was copyrighted in the' of Memorial Building. Here rests a huge orful and superb aggregations which toured name of Daniel D. Emmett; boulder, to which is attached a bronze under the names of Primrose and West, and it is said that the com¬ plaque bearing the inscription seen in the Lew Dockstader and A1 G. Field. poser later sold these rights accompanying cut. for a grossly inadequate five The Young Composer hundred dollars. A Hfihle Line Emmett was now forty- N 1857 EMMETT JOINED the Bry¬ four years of age. His wife HE AUTHOR of Dixie Land, or I T ant’s Minstrels of New York, with had been born Catherine Dixie, as it is more popularly known, which organization he continued till 1865. I^jves, on April 15, 1828; was born October 29, 1815, in the pictur¬ His duties included the composing and ar¬ and she died in 1875, at Chi¬ esque and romantic village of Mt. Vernon, ranging of Negro songs, plantation walk- cago. Emmett married a Ohio. His father, Abraham Emmett, a arounds, and so on; and it was in this blacksmith by trade, had come from his¬ second time—this choice be¬ qua. si Campanella 1'—- capacity that he came to write Dixie. ing Mrs. Mary Louise Bird of Chicago, dashed off the rollicking, lilting Dixie; and 4-<•*»—1 toric Staunton, Virginia. The mother, a Late on a Saturday night of 1859, after -"7 Miss Sarah Zerich before her marriage, who survived him. more than a quarter of a century has A 1 , P"! their performance, Jerry Bryant said to elapsed since he went to join the innumer¬ ,J7T was strongly musical. His grandfather him, “Dan, I wish you would write a new A Rational Adoption Emmett served as chaplain and surgeon able caravan that moves to the mysterious w \^m walk-around ‘hoo-ray song’ (the then cur¬ AT THE OUTBREAK of the Civil realm from which no traveler returns. ef * ■s- rent term which now has given way to Xi. War, the Dixie melody was adopted Before this, however, in the autumn of ► 3fU — sempre ‘hit’). The tune must be good; the words ^7 £#■ 1lU - by the southern people as the “national 1895 Al G. Field, of the incomparable Field’s r> &. won’t matter so much. And, Dan, please air” of the Confederacy. This occurred Minstrels, visited Mt. Vernon, just out of -T—7" | 2> have it ready for our Monday rehearsal.” 4 V lLl jTPi cy: f & - at New Orleans, early in 1861. sentiment for his old-time friend, Dah T1 Emmett went home and told his wife However, the sectional sentiment at¬ Emmett. In the course of the conversa¬ what was expected by Monday. He took 4 tached to Dixie has been long forgotten; tion Mr. Field remarked that he soon up his fiddle, as was his habit; but he tried P rn | 1—— n U and today it is heard everywhere—North, would be starting on the road for the sea- ^ u—1 in vain to coax forth a melody to his liking. =r East, South, West. There is a touching 12 '.Jr* Finally Mrs. Emmett advised, “Dan, give story that President Lincoln, when attend¬ it up for tonight. Wait till morning. To- The grizzled old minstrel, i r eighty ing some function shortly before his ill- years of age, roused up and exclaimed, “Al, . morrow will be Sunday, and you can have fated death, remarked, “I notice that you I’m going with you!” the room all to yourself. No one shall have a band with you. I wish you would At which Field laughed and replied, “All disturb you.” Pia7 Dixie. “Dixie” now belongs to the right, Dan. Glad to have you with us!” "DAN” EMMETT’S HOME AT MOUNT Came Sunday morning—with a pour of miserable, cold rain. And he went. They toured the South, VERNON, OHIO Almost three-quarters of a century have ending the season on April 11, “Some days must be cold, and dark, rainy Sunday morning, Ironton, Ohio. At each nightly perform- “The Father in the War for American Independence; and dreary.” American Minstrels” (Continued on page 558) and his father served his country in the War of 1812. He stood looking out at the dismal scene, With this legacy of lineage in mind, it then turned and in a querulous voice is not so difficult to understand some of moarjed, “I wish I was in Dixie.” the turns of Daniel Emmett’s nature. He Soon, however, Mrs. Emmett heard him was christened Daniel Decatur; but to his fiddling and humming; and she knew that companions he always was just Dan Em¬ he was working on the “hoo-ray” song for mett, while to old friends and neighbors Jerry Bryant. She waited some time, then at Mt. Vernon he became universally es¬ quietly entered the room. Emmett looked teemed as plain “Uncle Dan.” up from his writing and exclaimed, “Cath¬ erine, I think I have it! Listen.” A Picturesque Youth Then, to the tune he had composed, he AS A BOY he was possessed of a rather sang: - strong military spirit. He left record that “At the early age of seventeen I en¬ 1 wish I was in de land of cotton. listed in the United States Army, as a Ole times dar am not forgotten. fifer, and was stationed at the Newport Look away, look away, look away, Barracks, Kentucky, the school of practice Dixie Land. for the Western Department.” After serv¬ In Dixie Land whar I was born in ing the required three years, he was dis¬ Early on one frosty mornin’, charged and returned to Mt. Vernon. Look army, look away, look away, Some years later, in the early 40’s, he Dixie Land. had drifted to New York; and there, in a boarding house in Catherine Street, in Den I wish I was in Dixie! Hoo-ray! February and March of 1843, young Em¬ Hoo-ray! mett and several friends organized and In Dixie Land I’ll take my stand drilled the first Negro Minstrel Troupe in To lib an’ die in Dixie. America. Emmett was the violinist and Away, away, away down south in costumer, having designed the bizarre Dixie. adornment of white pants, striped calico shirts and blue calico coats with long swal¬ Mrs. Emmett was enthusiastic and de¬ ~ EMMETT, AT MOUNT VERN' Copyright 1898 by The John Church Company OHIO, UNVEILED BY THE DAUGHTERS OF THE CONFEDERACY International Copyright, SEPTEMBER 1934 Page 527 Page 526 SEPTEMBER 1934 « THE ETULE THE ETUDE

To the Junior and Juvenile Beach duos oj JiillsooroyJV.xz. SECRETS OF THE ATTIC Children■romping’amid the romances of other days in an old fashioned attic was clearly what Mrs.Beach saw when she penned this brisk and merry'1

Copyright 1934 by Theodore Presser Co. British Copyright secured Copyright MCMXXVII hy Oliver Ditson Company * International Copyright secured' THE ETUDE Page 52S SEPTEMBER 1934

DANCE' Ay OFA7 J-- THE .•COBBLERS - , . I - 1L„, c0[nD0Ser«m nnoops,s til]mind. HU Richard Wagner, you will remember, Clearly a musical picture in which the tappingof the cobblers hammer was evidently in.^ §£ a wtt t TATVTQ Cu, ^ ,o was not above using a similar device for the cobbler Hans Sachs in ‘Die Meistersinge . • . FRE.DF/RFREDERICK TCK A.WILLIAMS, Ot).Op. 148

Allegretto M.M. J = 96 /?> 0

RUSSIAN DANCE H. Engelmann never produced a better “show piece” than this. It is brilliant, not too difficult, and will make a high spot on many a recital program. Besureto play both hands in the chord passages exactly together. Unevenness in attack could ruin this piece.

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Copyright 1934 by Theodore PresserCo. British Copyright secured International Copyright secured THE ETUDE Page 530 SEPTEMBER 1934 MASTER WORKS THREE VARIATIONS FROM SIX EASY VARIATIONS On an Original Theme The Six Easy Variations on an Original Theme are given as number thirtyfour in the Nottebohm catalog of 256 Beethoven works.lt was written in 180 when Beethoven was thirty -two years old .This is one of the very finest of all of the Beethoven original themes and the variations are graceful and

appropriate. Grade 5. THE ETUDE SEPTEMBER 1934 Page 533 OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES CALLING YOU ELIZABETH MOORE FRANK H. GREY SEPTEMBER 1934 Page 535 Page 534 SEPTEMBER 1934 TELE ETUDE the etude TWO MOVEMENTS FROM !Sw: St. Diap., Bourdon 16' JUNE DAWN MINIATURE CONCERTO Gt.orCh: Soft Diapason In the First Position JOEL BELOV Ped'. 16' HOMER NEARING

VIOLIN \ I

PIANO

Copyright . 1934 by Theodore PresserCo. British Copyright secured Copyright 1934 by Theodore Presser Co. British Copyright secured SEPTEMBER 1934 Page 537 THE ETUDE Page 536 SEPTEMBER 1934 THE ETUDE THE ETUDE SEPTEMBER 1934 Page 539 Page 538 SEPTEMBER 1934 CZARDAS IN' C CZARDAS IN C Vivace con fuoco m.m.J. no PRIM0 HUNGARIAN FOLK MELODY

THE MESSAGE OP THE VIOLET THE MESSAGE OP THE VIOLET Andantino M.M.J.= 54 PRIMO MATHILDE BILBRO THE ETUDE THE ETUDE SEPTEMBER 1934 Page 541 Paso 540 SEPTEMBER 1934 ^ PROGRESSIVE MUSIC FOR WOOD WIND ENSEMBLE 3rd Bk clarinet DANCE OF THE ROSEBUDS FREDERICK KEATS Arr. by Hugh Gordon Allegretto M. M. J = 108

Solo -^ if f\£r.r pm 4 i u 1 ulT ^ p dolce —---

DANCE OF THE ROSEBUDS 2nd Bl> CLARINET DANCE OF THE ROSEBUDS 4th Bl> CLARINET FREDERICK KEATS FREDERICK KEATS Arr. by Hugh Gordon Allegretto m.m. J = Mb miFr'ffMjfir rfflr I m mf THE ETUDE SEPTEMBER 1934 Page 543 Page 542 SEPTEMBER 1934 4 THE ETUDE FASCINATING PIECES FOR JUNIOR ETUDE READERS

PLAYFUL ECHOES HAZEL GILBERT Merrily M. M. J-=96

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Copyright 1934 by Theodore Presser Co. British Copyright secured Copyright 1934 by Theodore Presser Co. British Copyright secured THE ETUDE SEPTEMBER 1934 Pa9e 51t5 Page 544 SEPTEMBER 1934 THE ETUDE Parent Help in Music Study

By Nelson J. Newhard

“ T AM JUST crazy about music,” ex- fully and see that the teacher’s written in¬ Earn A Teacher’s Diploma I claimed an enthusiastic parent, recent- structions are carried out accurately. JL ]y; and this expression is frequently Let the child feel that you are sharing heard in many studios. The difficulty is in his success. Don’t blame the teacher if that this enthusiasm too often melts rapidly, the little one makes a poor showing in when the parent is asked to do something public, unless you have done your part to¬ or really practical in helping the pupil. Pay¬ ward helping to bring about success. Many ing the teacher’s bills is but a part of the men and women realize in after life that parent’s obligation. their musical ability is due far more to the Even in the case of very intelligent and persistence and interest of the parent than A Bachelor’s Degree musically gifted children, practice at home to the teacher. should be supervised; and this often must An encouraging pat on the back is a be done with all the decision, love, and great stimulus to the average pupil. The diplomacy the parent can command. technical background of music is often One of the best means by which to in¬ very difficult to acquire. It is also extreme¬ In every community there are ambitious men and women, who know the sure regular practice is to let the pupil advantages of new inspiration and ideas for their musical advancement, but know that you are enormously interested. ly irksome to some children. In such cases, You are not too old to learn. Work with unless the parent makes clear the impor¬ still neglect to keep up with the best that is offered. your child in his musical explorations and tance of the rewards that come from the It is too easy for them to say “I am t>usy and haven’t the time for more convince him that you really are ’’crazy ability to play, and to play well, the pupil study myself.” They find that excuse instead of making the effort to use the about music.” There is no better way of may “beg off” and cease his music lessons, minutes each day which so often go to waste. stimulating his enthusiasm. Watch care¬ to his everlasting disadvantage. The most successful musician, of course, is a very busy one. The demands upon his attention are never ceasing—yet he is the one who can find the extra time for something worth while. It is for such a one, chiefly, that the Exten¬ l, 5 , > , , i , * Make Tour Practice Period Worth While! sion Courses are the greatest benefit. For him it is hard to give up his By Clyde J. Garrett interesting class or position and go away for instruction. Extension work is also equally advantageous to the beginner and the 1. Practice daily! member that the final ear is the guide amateur. The work can be done at home in spare time, with no interference / breaks, cra-dle will fall. Tra - la-la ■ la, Tra - la-la - la, 1Down will come Ba - by, cra-dle, and all. 2. Let your motto be: “Learn to listen.” to vowel purity. with one’s regular work. 25 3. Practice at definite periods each day. 7. Use a few minutes each period for 14. Begin each practice period with_ slow, sight-reading a new selection or hymn, The Increased Demands for DEGREES have Resulted in trying for correct pitches, time and short-interval exercises, gradually-wid¬ Larger Classes for the ADVANCED COURSES offered by the ening the range to scales, arpeggios tone quality. 8. Never let a practice period go by with¬ UNIVERSITY EXTENSION CONSERVATORY. Copyright 1934 by Theodore Presser Co. British Copyright secured , and more intricate turns and combina¬ out memorizing something new, if only tions. Look back over the last year. What progress have you made? Perhaps 5. Be certain to vocalize throughout your a new vocalize or a stanza of a hymn. average range on each vowel sound of 9. Learn to finger your new songs on the you’ve wanted to send for our catalog and sample lessons before—just to look piano; then learn the accompaniment. into them. That is your privilege. We offer them without obligation to you. your vowel chart, later combining con¬ Ours is one of the leading musical institutions and we urge you to take advantage sonants with vowels as suggested by The voice student should continue daily of the spare moments you are sure to find. You must not rely upon your good your teacher, his efforts to have a good working intentions, as you have in the past, or you will miss this opportunity. 6. Study your lip formation, jaw drop, knowledge of the piano. The service offered to teachers in our classes continues long after the diploma and so forth. For this purpose it is 10. Don’t forget to review supposedly or degree is awarded. well to have a mirror in the practice learned selections. Keep your reper¬ There is a greater demand all the time for the courses we offer, as they fit room. Of course one must always re¬ toire in mind for ever-ready use. teachers for better positions. This is an age of specialization and the specialist is earning fully double or more the salary of a musician with only a general knowledge. Openings in the music field are growing very rapidly. There are big paying positions for those who are ready for them. ‘Music Pgcreation and the P^adio A Diploma is the key to the best teaching position. Do you hold one?

(Continued from page 517) Our Diplomas and Degrees are Awarded by the Authority of the State of Illinois the American Bar Association, on eco¬ of the country. From the standpoint of nomics, sponsored by the Brookings Insti¬ public interest, the presentation of educa It is up to YOU. On your own decision will rest your future success. Fit your¬ tution, and on labor, sponsored by the tional programs is of the highest impor¬ self for a bigger position—demand larger fees. You can do itl You can easily and Workers’ Education Bureau. The popular tance, and in the exercise of its powers, the quickly fit yourself right at home through Extension Courses. reception with which some of these series Commission should take this importance This great musical organization now in its 31st successful year—has developed have met has been such as to lead to their into account. But obviously, the Commis¬ and trained more accomplished musicians and more successful teachers than any sion is not an educational body. It has other musical School in existence. And to you we offer the same advantages which continuance over a period of years. Un¬ were given to them. doubtedly, there is a field for radio educa¬ neither the equipment nor the responsibility Now is the opportune time for you to clip the coupon below. Get it in the first tion which we are beginning to find. for developing proper techniques of radio mail. Don’t waste any more time! The coupon will bring you information about How effective radio education proves to education. If educational programs are to the lessons which will be of untold value. be will depend predominantly on whether have their proper weight in determining ways are found to make it effective. The the public interest in the maintenance of a This Is Your Opportunity—Mail the Coupon TODAY! mere fact that a program is educational in station, the technique of radio education character does not in and of itself mean must be developed by the educators of the University Extension Conservatory that it will be effective over the radio. The country themselves. Accordingly, every coming of the radio throws down a new effort should be made through the cooper¬ DEPT. X, CHICAGO, ILLINOIS challenge to our educators to develop tech¬ ative action of educational institutions and niques to which the radio is adapted. There of the various learned societies to develop is still a very great need that educators by experiment and research types of pro¬ UNIVERSITY EXTENSION CONSERVATORY, Dept. X should exert themselves in this direction. grams which, when put on the air through Langley Avenue and 41st Street, Chicago, Illinois. Ultimately they will succeed, no doubt; one or more stations, will so justify the im¬ Please send me catalog, sample lessons, and full information regarding course I but the permanence and degree of their suc¬ portance of radio education as to entitle have marked with an X below. cess will depend on the measure of their the participating stations to claim that they cooperation, and on the extent to which are serving the public interest. For this □ Piano, Normal Course □ Trumpet □ Guitar they cooperate in experiment and research. development the needed amount of time on for teachers . □ Cornet □ Ear Training and It is along these lines that the major effort the air must be made and kept available. □ Piano, Course for Stu- □ Voice Sight Singing should for the moment be concentrated, in □ History of Music □ Mandolin □ Public School Music order that radio education may not be □ Choral Conducting □ Saxophone SELF-TEST QUESTIONS ON □ Harmony □ Clarinet discredited by a plethora of poor programs □ Piano Accordion MR. DICKINSON’S ARTICLE □ Adv. Composition O Violin before it has had a full and fair trial. 1. What was Aristotle’s limitation of a Name . Age . The Challenge state? HE RADIO ACT of 1927 requires the 2. What has made possible the expansion Street No.1. Radio Commission, in considering ap¬ of this limitation? plications for a license, to take into account 3. What type of radio program will be City . State . the character and quality of the service most effective? How long have you taught Piano?. How many pupils have you offered by the applicant, from the stand¬ 4. What particular qualification has music point of the public interest. This gives for educational use over the radio? now?. Do you hold a Teacher’s Certificate? ... Have you the Commission an opportunity to assess 5. In what directions has education over the nature and value of the educational the radio particularly increased in its studied Harmony?.Would you like to earn the Degree of Bachelor programs offered by the different stations scope? of Music?. the etude SEPTEMBER 1934 Page 547 THE ETUDE Pane 5A6 SEPTEMBER 1931 Drink to Me Only With Thine Eyes, Old to relax, it will be difficult to sing, A English (octave); She Never Told Her voice, no matter how well trained, cannot Love, by Haydn; When the Roses Bloom, sing for any great length of time in the PROBLEM IN by Reichhardt; and Faith In Spring, by upper part of the compass, without feeling Schubert; all within the interval of a ninth. it. Many otherwise good songs are un¬ All of these songs have been sung for more usable, especially in the studio, for the rea¬ CLASS PIANO INSTRUCTION THE SINGER'S ETUDE than a century; which only proves that it is son that too much of the sohg. is in the quite possible to write beautiful melodies and upper half of the voice. One of the problems of the private teacher of Class Piano Instruc¬ Edited for September by to express worthy sentiments within a short The vocal mechanism of the human race tion is to enroll sufficient pupils at the right time to make it profit¬ compass. has changed little in the past three thou¬ able and to be able to properly grade and classify them. D. A. Clippinger sand years; and it probably will remain in This problem is successfully solved by the teacher who has ambi¬ Let Them Scream Moderately the future pretty much as it now is. But tion and business ability as well as teaching ability. It is the ambition of THE ETUDE to make this Sinsetf Department “A Silver's Etude” complete in itself BUT THE THING which decides of this we may feel sure, that in the com¬ We offer a plan by which such teachers may work their way to whether or not a song is really sing¬ ing years the human voice will be called success far beyond any of their past hopes. Interested ambitious able is its tessitura; that is, where it lies in upon for a larger part in the music mak¬ piano teachers willing to work hard for results should ask for a the vocal compass. Occasional high notes ing of the world. Therefore, in writing description of this plan. It is offered free and freely. It is simple are not difficult; but if too much of a song for it, great care should be taken that this and conservative. lies above the middle of the voice, without most marvelous of all musical instruments occasional low notes, or phrases, on which may always appear at its best. WEAVER PIANO COMPANY The Song and Its Interpretation Makers of fine Pianos and the Ross Multiple Piano The (Resources of Expression A discussion so packed with “good, wholesome truths" that every composer and singer of songs might profit hy a careful study of it. Factory 101-127 Broad Street, York, Pa. By D. A. Clippinger THE SONG SONG INTERPRETATION is indi- right pitches, but also right note lengths. dividual, for the singer can express It means a rhythmic sense that preserves HE ANNUAL OUTPUT of songs musical ideas and to preserve the sense of Fields') the mood of the. song is what one Classic song literature is full of these only himself. This explains why no T interesting touches of genius. And they not only the measure form but the phrase is something enormous. That this proportion; which is as essential in musical might feel while lying in the deep grass two people ever interpret a song in ex¬ explain why such songs are exempt from rhythm as well. From experience and ob¬ will continue seems altogether composition as in painting and architecture, watching “the fair white clouds ride slowly actly the same way. age and decay. servation, I should say that more mistakes probable. The desire for self-expression This will bring the climax near the end, overhead,” in a state of complete inaction, When a composer puts a song in the But there remains one very important are made in rhythm than in wrong pitches. shows no evidence of waning. Some of these where it rightfully belongs. If it should Here Brahms establishes the mood by this hands of the public, he has lost control of Singers are urged to master the rhythm of songs are excellent, a considerable number reach its climax at the end of the first eight treatment of the tonic chord: item to be considered in song-writing—the it. Every singer will sing it the way he human voice. This marvelous instrument, the phrase as well as of the measure form. are good, but far more of them have no measures, everything following would be Ex.l thinks it should be sung, the way he be¬ capable of expressing the entire range of To an artist, rhythms are elastic; but no educational value. A consideration of this anticlimax. lieves the composer meant that it should be human emotions, has some very definite one should take liberties with rhythms be¬ condition may lead to something. sung. But this can never be more than Capturing the Mood limitations which must be respected. There fore his sense of exact rhythm is clearly In song-writing, poet and composer col¬ approximate, for the singer and the com¬ are certain things it can do well; there are established. Otherwise he will muddle it. laborate. The poem expresses a mood and IN THE CREATING of a song, the poser are of two different mentalities. others it never can do effectively; and these 4. Diction. the composer undertakes to translate this composer undertakes to strengthen and Now the singer, like the composer, has can be learned only by a careful study of This includes distinct enunciation of into music. For this purpose he has, at supplement the mood created by the poet. certain resources upon which to draw in the voice itself. If I were outlining a course vowels and consonants. Great care his command, rhythm, melody, and har¬ If he succeeds, the poem will be far more producing effects; and herewith is pre¬ of study, leading to song-writing, I would be exercised in handling these elements of mony. His success depends upon what he effective when sung than when recited with- sented an outline of the resources of expres¬ In Der Wanderer, Schubert uses include in it several years of the study of speech. Consonants must be short but dis¬ can do with these materials, especially sion with which the singer must be fa¬ musical figure to indicate the restless -s singing with recognized teachers. tinct. The note length must be filled with melody. Harmony can be learned, but The classic song writers were so sensitive miliar in order to be a good interpreter of melody is a gift. When a song awakens to poetic and tonal moods that when they of mind of one condemned to endless w The amount of money spent by publishers vowel. When enunciating consonants that songs. pleasurable emotions, we say it is beautiful; caught the mood of the poem it brought in issuing songs that never move after they have pitch—such as 1, m, rt, v, and z—the but further analysis will show that the with it appropriate music. This is what are placed on the shelves, is appalling. In consonant must have the same pitch as the sense of beauty was stimulated more by its Hugo Wolf meant when he said that he most instances there is a reason for then- vowel which it precedes or follows. melody than by either rhythm or harmony. always studied the poem until it composed static existence. Correct pronunciation may involve f Emotional Concept the use of the dictionary, but it is well the music. But composers are not all so 1. MOOD 1 Facial Expression A Gift of the Gods The Judge and Jury sensitive, nor do they all have such freedom [ Stage Presence worth while. The mispronunciation of a WHY ONE MELODY awakens the in handling the material of which music is AREALLY TALENTED composer one word in public may have a far-reaching sense of beauty and another, that made. This is the reason why so many day said, “When we write songs we f Even Scale effect on the fortunes of a singer. Words looks just as well on paper, fails to stir the songs fall below the standard set by the must write as we feel. We cannot be gov¬ do not lose their meaning when associated HAVE YOU A COPY OF And then in his cycle, “The Maid of the * VOICE ggt listener, is something that evades the classic writers. Mill,” where the young miller discovers erned by the limitations of singers. They with music; therefore accent and emphasis analyst. The gift of melody is as certainly [ Breath Control the brook this same composer uses the must learn to sing what we write.” This should not be overlooked. THIS FREE “WHOLE WORLD” CATALOG? a divine annointing as is the gift of proph¬ Eternal Fitness coming figure which gives a marked sug¬ attitude is quite correct—with one qualifica¬ 5. Technic. ecy. There is little use in trying to ex¬ This booklet will be of infinite service to you NOW IT MAY be very properly gestion of a chattering streamlet. tion ; and that is that when the composer Attack—the way of starting the tone plain it. Profound musical knowledge asked, “What is good song-writing?” writes for the voice he uses the same in¬ is an important element of technic. A tone, in the selection of music collections. One of seems not to be a necessity. It is often as¬ And a very fitting reply might be that all telligence as when writing for an orchestral that begins exactly on the pitch, always will sociated with people of small musical attain¬ the principles of song-writing are comprised instrument The creator of every truly be better than one that starts somewhere the most attractive catalogs ever issued of ments. The folk songs of the world attest in the law of fitness: in other words, doing great, and long-lived, song, has done so. below the pitch and slurs up to it. Nothing standard music for piano, voice, violin, organ this statement. Melodic sense is of primary the right thing, in the right way, at the Which ends the argument. Pronunciation so clearly marks the amateur as a careless, importance in song-writing; and one who right time. If the poem means one thing Most songs are written by instrumental¬ Accent uncertain attack. and other instruments. Every book illus¬ aspires to this form of musical expression Emphasis and the music something else, or nothing in ists ; but when composing a song one must Flexibility, which enables the singer will do well to examine himself carefully. trated, and described, together with its com¬ particular; then the unfitness' of it is ap¬ r T think vocally. A great pianist told me to execute all things that are comprised in If he finds that he has no particular gift of parent. If the poem is sad, joyous, or To introduce the song, On the Journey that he once tried to write songs, but that florid song, should be thoroughly mastered. plete contents. If you are a teacher, student melody, he should devote his time and tragic, then the rhythm, melody, and har¬ Home, which describes the feeling of one he soon discovered that he was thinking Without it, singers are limited to songs energy to something else. mony must be in the same mood, in order or lover of music, be sure to write us to-day who, after long absence, returns to view instrumentally, and so he gave it up and that make no technical demands. This that the law of fitness may obtain. the “vales and mountains” of his youth, confined his efforts to writing for the pi¬ greatly diminishes their repertoire. A fin¬ —a postcard brings it. (Not sent to Canada The Untrammeled Poet There was a time when the accompani¬ Grieg, with two beginning measures fills ano. Wise man 1 ished vocal technic is not often heard. The UT THERE ARE certain principles ment did little more than to keep the singer B us with a mood from which we cannot es- When a composer writes an Art Song, or European countries.) of song construction which must be on the pitch; but in modern music that has reason, undoubtedly, is that it involves too it is his privilege to write as he feels and many years of hard work. observed. The starting point is the poet. been changed. Now the accompaniment Ex.4 then to take his chance of getting a public THIS FREE CATALOG CONTAINS Now the poet is the most free of all created must help to create the mood. But modern 6. Phrasing. hearing. But he must not forget that, in DESCRIPTIONS AND CONTENTS OF OUR BOOKS things. He roams the universe at will, and harmony has become so rich that there is The underlying principles of phras¬ the selection of songs for public perform¬ Let us consider these in order. every field is his pasture. His work is less a great temptation to overload, till the song ing serve as a basis of all good singing; FOR THE PIANIST ance, singers are the final judges; and they 1. Mood. exacting than that of the historian, because becomes a piano solo with a vocal obbligato. and they grow out of what sounds well. cannot be blamed if they insist on using Light Opera he is not hampered by facts. Oscar Wilde Recently I received a copy of a Lullaby. The singer, being the interpreter of In song singing, no less than in story songs that lie well, that are singable—songs Modern Ope: once said, “Anybody can make history; but To my surprise I found it burdened with an both poet and composer, must assume the telling, continuity is important. Each sen¬ Gilbert & Sul it takes a smart man to write it.” The accompaniment ample for almost any heroic in which they can produce the maximum of mood of the song, in voice, in stage pres¬ tence contains an idea which must be de¬ historian must confine himself to facts, the theme. It was a marked violation of the effect with the minimum of effort, songs ence, in facial expression, in style of deliv¬ livered without interruption. This smooth¬ that show the best things in the voice ery of the text, in every physical or emo¬ poet to probabilities. The historian tells law of fitness. But one of the most striking examples ly connected style is what is meant by the " ' ul oing: what has happened, the poet tells what There is no objection to a difficult accom¬ of the operation of genius is Schubert’s rather than the worst. tional aspect which will help to make its word legato. Songs of the Sunny South. Sacred Mus might happen. Discussing the freedom of paniment, if it is in the mood of the song. introduction to his Am Meer. Here, by delineation more vivid. It is as necessary The Fastest Steed Knows the Bit The element of safety, or security, the poet, Aristotle said that in poetry “a Some one can alv/ays be found to play it; means of two chords, he produces the mood to look the song well as it is to sing it so essential to a good performance, is rep¬ FOR YOUNG PEOPLE probable impossibility is preferable to an and it might encourage voice teachers to of the lonely seashore, the deserted hut, TF THE COMPOSER writes for his we'*- K the singer expresses one mood resented by the word sostenuto. These two FOR THE VIOLINIST A own satisfaction, and is indifferent as improbable possibility.” study piano playing more seriously than the tears, the dull sound of breakers dying with his voice and another with his face, fundamentals form the basis of good sing¬ Pieces Whole World Plays. This freedom enables the poet to create some of us dp. But modern song writers on a distant strand, and, all around, the to whether or not his songs are sung, he he is working against himself. ing. While they, of themselves, do not in¬ things even more inspiring than any recital might practice with profit a little more self- unfathomable mystery of the mighty deep. may give his imagination free wing. But, 2. Voice. sure a perfect performance, it is also true of history, because he is not compelled to restraint. if he would be useful, his genius must be When properly trained the voice has that without them a perfect performance is include sordid things, in which human his¬ The introduction to a song is by no means exercised with judgment. He must write an even scale of rich, sympathetic tone impossible. it Home Music Album. tory is rich. Gibbon said that history is unimportant. It is not merely for the pur¬ songs that the majority of good singers quality. This calls for perfect freedom Encyclopedia of the Violin...... 5 00 largely a recital of the crimes, follies, and pose of giving the singer the pitch, but even can sing. It is possible to do this without jrom intrinsic and extrinsic interference. And the Greatest of These losing his inspiration. It is even possible For Sale at all Music Stores i Except misfortunes of the human race. more to establish for both singer and audi¬ By this only can automatic response of the N ALL GOOD SONGS there is a con¬ I Canada and European countries) o to write beautiful songs within a short com¬ I receipt of marked prices. The poem, which best lends itself to ence the mood of the song. There are some vcnce to the thought of the singer be gained. stant rise and fall of emotional intensity. song-writing, is one which develops an pass. Such songs are common among the marked examples of this in the song classics. This calls for evidence of design in every idea. This enables the composer to develop classics. For example: My Mother Bids D. APPLETON-CENTURY CO. 35 W. 32J St., New York In Feldeinsamkeit (The Quiet of the This includes singing not only the Me Bind My Hair, by Haydn (octave); (Continued on page 558) THE ETUDE the etude SEPTEMBER 193, Page 549 Page 548 SEPTEMBER 1934. sharped fifth on E, and quitted on the Measure 25 modulates to F-sharp minor WHERE SHALL I GO fourth beat as a dominant ninth on B-flat, by means of chords on mediant and first resolving on the second inversion of the A- inversion of the supertonic of E major. His own story of TO STUDY? flat triad. Measure 26 modulates to D-flat major, Itis career, from Measure 16 modulates to D major, by by means of the first inversion of the minor childhood to his means of a repetition of the same modula¬ ninth on the submediant of -F-sharp minor, ETUDE present world THE ORGANIST’S tion but resolving on the fifth inversion of which is one of the chords of the diminished the dominant 11th on A in the key of D seventh, resolving on G-sharp major, the eminence, and an Edited for September by Private Teachers major. dominant of C-sharp major, which is the excellent study of E (Eastern) Measure 17 modulates to B major, by same (enharmonically) as A-flat major, his music is in Eminent Specialists means of the first inversion of the chord of the dominant of D-flat major, and to this this hook, ; WILLIAM C. CARL, Dir. the added sixth on supertonic of D major. chord the dominant seventh is added in It is the ambition of THE ETUDE to make this Or3an Department "An Organist’s Etude" complete in itself " Guilmant Organ School Measure 19 modulates to C-sharp minor, measure 28. 3 51 FIFTH AVENUE, NEW YORK by means of the first inversion of the major Measure 28 modulates to C major by triad on the submediant of B major. means of the “French sixth” on A-flat in ; WALTER CHARMBURY Measure 22 modulates to E major, by measure 31. Pianist and Teacher means of the triad on the submediant of And so the circle has been made com- ^Hecollacttons ; SHERMAN SQUARE STUDIOS C-sharp minor. On VModulation 160 W. 73rd Street, New York Told to OSKAR VON RIESEMANN ; Tel. Trafalsar 7-6700 $3.50 THE MACMILLAN CO., NEW YOKE By J. Stuart Archer j KATE S. CHITTENDEN Getting the ‘Best Bgsults from a (ffhoir ■ Pianoforte — Repertory — Appreciation ; 230 WEST 59th ST., NEW YORK CITY By Henry C. Hamilton AUSTIN ORGANS EVERY TEXT book on harmony de¬ movement in the key that he chose, the strength, is gradually brought back to the composer seems to say, “Stop a minute. original tonic in a triumphant fortissimo. votes a chapter to modulation, in : ALBERTO JONAS Part II Are designed on scientific which carefully rolled and flower- Just listen to this. Here is another aspect A whole paper might be written about ‘ Celebrated Spanish Piano Virtuoso c the potentialities for modulation that lie in principles and on an artistic bordered little paths are indicated, which of the subject which may not have struck Teacher of many famous pianists HIS QUALITY should be found more the chord of the diminished seventh—as it , 19 WEST 85TH STREET, NEW YORK CITY T and the tone is inclined to be mellow rather tonal basis. Built of quality lead easily and smoothly from one key to Tel. Endicott 2-2084^ On Wed^gsdays m Philadelphia in choir music. Not too complicated, than penetrating. This is one of the main Wagner gave this advice to composers: is commonly called. another. But these orthodox connecting of course, but to the extent that each part things to be remembered when examining materials with skillful work¬ links are of little or no use to the modern “Say everything you have to say in the key should have sometime the leading theme, or the voice parts of new or untried anthems. manship they are outstand¬ composer. No beating about the bush for you are in, before moving out of it.” Like ; LaFORGE-BERUMEN STUDIOS an interesting counter melody, at least for a To overlook this will mean certain sur¬ ing in tonal character and him 1 Does he wish to move from C major all epigrams this has to be taken with a » Voice—Piano short time. And the singers will be on the prises, perhaps disappointments. Compare to F-sharp major? Why certainly, where pretty large grain of salt; but his meaning " Frank La Forge teacher of Lawrence Tibbett in durability. lookout for it, too 1 A very singable thing, the following harmonies to the same melody. is the difficulty? is obvious : “Do not modulate without hav¬ since October 1922 ing a definite reason for doing so.” And It is of course, among other things, the first . 14 WEST 68TH STREET, NEW YORK somewhat of this sort, is Just As I Am, by The first will be brilliant; while “B” will AUSTIN ORGAN CO. Ex.l . Tel. Trafalgar 7-8993 Ernest Bowles. The alto takes the melody be rich but not bright. certainly, in listening to a symphony by inversion of the dominant minor ninth on G, HARTFORD, CONN. Mozart, Beethoven or Schubert, one is left with its root omitted, as at “A.” By enhar¬ : RICHARD McCLANAHAN for four measures, then the sopranos carry with a feeling, of amazed wonder at the monic change, it can be taken as the second I Representative TOBIAS MATTHAY it on; later the tenors repeat the alto theme. Which gives each of these the op¬ c prodigious effects they got with the alter¬ inversion of the dominant minor ninth on « MONDAY MORNING LECTURE— nation of tonic and dominant harmonies; E, as at “B;” or as the third inversion of ■ COURSE BEGINNING IN OCTOBER portunity to be both soloist and accom¬ but we must note how this harmonic econ¬ the dominant minor ninth on C sharp, as 3 706 STEINWAY HALL, NEW YORK CITY panist. A chorus with an obbligato solo omy gives overpowering value to a sud¬ part is, as a rule, well liked, when rehearsed at “C;” or, lastly, as the fourth inversion RALFE LEECH STERNER sufficiently to be sung as intended. A list NATIONAL RECORD SERVICE. 1206 Race St.. Phita.. Pa. den modulation into a remote key which of the dominant minor ninth on B-flat, as ’ Vocal Instructions is usually associated with a reduction in at “D;” always, with the root omitted. (To , Singing and Speaking Voice of this type of compositions can be had power and a change in tone color. be certain of a proper resolution, each chord « 310 W. 92nd Street New York, N. Y. from any good publisher. Surely the abruptness of the unrelated « Tel. Schuyler 4140 £)igh School chord, introduced by no preliminary “permit As an outstanding example, the trumpet should be shifted to its direct (uninverted) j Another thing the choir leader soon call in Beethoven’s Overture in C (No. 1, position, when its two lower tones should learns is that everything will not sound the me” or “by your leave,” has something EDWARD E. TREUMANN Ifourse in but the last written) to “Fidelio.” Here, of move up and the two upper tones should way he expected. An anthem may be arresting about it. Concert Pianist—Artist-Teacher But we are not all ultra-modern com¬ course, the fanfare is an interpolation. It move down. These same tones move in ^ 1 ^ ^Recommended by ^ played over on the piano or organ, and an 2 Years posers. There are still many of us left does not take its place in the regular work¬ the same way in any inversion.—Ed.) Ex¬ idea thus gained as to its general effect; ing out of the overture; but numberless Summer Class: June to Sept. Apply Now. who are content to go old ways, who de¬ temporizers can therefore turn to it as a STUDIO, 7 W. 86TH STREET,NEW YORK, N. Y. but there will be surprises when it is tried f simplified ^ High SChoc mand a certain logical sequence in chord examples can be found in which the modu¬ very refuge in time of trouble; for, by set¬ with the choir. One passage may fall far Well written choral compositions will, progression and a modicum of melodic in¬ lation is introduced in the orthodox de¬ ting the rail-switches right, they can send short of expectations; and, on the other Private Teachers for the most part, give to each voice as stti/de«>ea.Sendf™FreeBu1|1ftto'T‘oDAY.N terest in outline. velopment of the movement. One frequently their musical train into any desired station. hand, another may furnish an agreeable (Western) More particularly is felt the necessity of used is from the dominant seventh of one For example, let us start again from C thrill. ■ much work as possible where it sounds at key to the tonic on its flatted submediant. major and decide we want to arrive at F- its best. Even some of the masters seem being able to modulate, or pass easily and FRANZ DARVAS Neither the piano nor the organ can con¬ naturally from key to key, in improvising sharp major. We must take the chord “C” vey to the ear the vocal effect, because it to write. better for some voices than for Piano and Composition on the piano or organ How often do we of Ex. 6 (in open position), resolve the D will be a piano or organ tone that is heard. others. Bach apparently favored the con¬ hear the player see-sawing backwards and on C-sharp, and immediately find ourselves 5411 BARTON AVE., To get the proper idea, it is necessary to tralto ; for many of his happiest vocal forwards between tonic and dominant, ap¬ in the third inversion of the dominant of LOS ANGELES, CALIF. consider the tone-color of each voice that thoughts have been given to the rich and SUMMER SPENDS parently unable to push off and get some¬ F-sharp, from whence it is a straight run low registers of the female voice. Some of WILHELM MIDDELSCHULTE, is to do a part, and to hear this mentally. where. A good improvisation should, like This may be illustrated by comparing two his work in the “Christmas Oratorio” ap¬ a journey, start, arrive and return, instead LL. D. pears to bear this out. Ex.7 Director ol Wisconsin Conservatory, Milwaukee, arrangements of the same hymn tune. It is SEPTEMBER of giving the impression of a passenger 4 Professor of Organ and Theory, sometimes found that in one hymn book a 4 Detroit Conservatory, American Conservatory. running up and down the platform looking short passage may be given to the tenors, for the train. 4 Rosary College, River Forest, III. AT CHALFONTE-HADDON HALL 4 Degree Work arranged. Private lessons in Organ which in another setting will be assigned 4 end Theory. 5210 Kenwood Ave., Chicago, III. Change Imperceptible to the altos. Now in playing the tune both Slum - ber, Be_ lov - ed and September days are the best in alt the arrangements will sound quite alike; but, year at these friendly hotels by the sea. MODULATION can be gradual or ab¬ jj Schools—Colleges rupt. As an example of the gradual, when sung, a vast difference is discovered. , The white beach at our door sparkles let us think of the link passage between the Professional The male voice, around and above middle | with gay cabanas. The surf is temperate Measure 4, modulates to A minor, by and unusually stimulating. The Board¬ first and second subjects in the first move¬ A short “exercise” will now be given, C, begins to partake of a high, brilliant and means of triads on mediant and submediant take_ Thy_:. re - pose. walk, too, is adjacent, inviting you ment of Schubert’s “Unfinished Symphony.” showing examples of modulation from C trumpet-like quality; whereas the female of C major. to a bracing stroll or roll past its count¬ It is.too well known to quote—that long- major to most of the other keys. j BRAUN 3£’=,'oa;« voice here is entering its lower register (Continued in October Etude) Measure S modulates to F major, by less enticing shops. Summer sports drawn D, approached as the mediant of the means of the triad on submediant of A await nearby on every golf course, key we are in, B minor, quitted as the minor. : CONVERSE COLLEGES tennis court, and inlet, while within dominant of the key we are entering, and N. Irving Hyatt. Dean, Spartanburg, S. C. Measure 6 modulates to B-flat major, by T3he Birth of Jsfew VXCusic the hotels themselves entertainment into which it melts. As an example of the and repose continue at their well-ac¬ abrupt, Schubert can again be drawn upon, means of adding a flatted 7th to tonic of F major. ; DUN N1 NdGEdf||IJS^SoI|% customed pace. Concerts. Game for the second subject in the Finale of his Another modulation this master uses fr By William A. Wolf Measure 9 modulates to E-flat major, by I SANDUSKY AVe!) IeLLEFONTAInI^OHi’o. rooms. Health baths. Lazy Ocean “Symphony in C.” First it is announced quently is from the tonic of one key to tl means of adding flatted 7th to second in¬ Decks. Cheerful, quiet rooms. Mar¬ mf in the dominant of G major; semitone above, usually in base unisons. n J/MHV CONSERVATORY OF MUSIC What music owes to the great Refor¬ but it was under the influences of velous meals three times a day. Don’t version of tonic of B-flat major. Ex. 2 " Ml U A Catalog FreeGale8bWm.™!Bentley, Director mation is the adoption of a distinctly melo¬ Protestant congregational chorale song believe a word about summer’s being Measure 11 modulates to G major, by dious style of song, and the development over. Come down soon and let us prove Allegro means of the last chord in measure ten, that this more simple, natural, compre¬ of the harmonic, or chord system—in a hensible, and forceful mode of part-writing it has just reached its prime. Moderate which is taken as a dominant seventh on E- : NORTHWESTERNISIgS word, the inception of the homophonic rates. American and European plans. flat and quitted as an “Italian sixth” on the was developed into an independent phase p^==== style of writing, as opposed to the poly¬ of musical technic and to mark another and, after sixteen more measures, there flatted submediant of G major. phony of the Catholic scholars. Leeds and Lippincott Company turning point in the history of music. occurs that sudden magical change in which -t>p Measure 14 modulates to A, by means of The works of the latter had exhibited, the last chord in measure 13, which is taken j SHENANDOAH COLLEGE the solo oboe takes up the subject in what , CONSERVATORY OF MUSIC. Special Courses In to be sure, traces of pure chord-succession; as the second inversion of the dominant —The Cypher. sounds at first like the key of B major but - vSS! IsWii 1>T5^ minor 9th on B—one of the diminished Chalfonte- turns out to be the dominant of E minor, m Dayton, Virginia through which G major is again reached. And then will begin a series of wonderful seventh chords. Notice how the change of tonality suddenly sequences, in which the theme, or a frag¬ Measure IS modulates to A-flat major, "Music, accordingly, is even nearer akin to ethics than philosophy. In alters the “atmosphere” of the music, how, ment of the theme, is used, first pianissimo by means of the chord on the third beat of 3 of music taught aVa nomfnd^ostT^dire^to^^form! Haddon Hall its conspicuous ability to give free play to personality, it is preeminently as it were, after laying the bearings of the in remote keys, and then, gathering measure fourteen which is taken as the " sRee^.ember ^that thousands of ETUDE readers are dominant seventh with a chromatically the sociological art. It is of the very essence of humanism itself. It voices ATLANTIC CITY the aspirations of humanity which will not be repressed/’^-Colin McAlpin. THE ETUDE the etude SEPTEMBER 1931 Page 551 Page 550 SEPTEMBER 1934-

At the Start of the Teaching Season L,Uqrq^j5anDCHOIR questions MUSIC EDUCATORS CAN SELECT Answered Interest'Creating NEW MUSIC of Rece THE ETUDE THE ETUDE SEPTEMBER 1934. Page 553 Page 552 SEPTEMBER 1934 To me it" was a thrilling discovery that I that diligent labor has - been necessary to could make music as well as anybody, and make it producible. In that way I have ■1 FOR THE VIOLIN [■ there was nobody to “nag” me out of that spurred myself on toward violoncello thrill. * ' . achievement. Having made my start m the land of Of course, I am not sure that I can ‘THE DAYS OF C< the “Arkansas Traveler,” it would have THE VIOLINIST'S ETUDE play. I have a nice library of solos and This book, the first in a series been quite natural for me to content myself ensemble music by the masters; and it in the achievement of the rollicking tune of seems to me that by sawing away at these of , volumes to be known as Edited by that name'with the addition of Turkey in works I get many beautiful sounds. Some¬ “The Violinst’s Music Shelf”, the Straw and just a few other similar times people even pay me for making them. presents the choicest works of Ozark gems. But my crowning distinc¬ Robert Braine But I don’t know whether I can trust my more than fifty famous Eng¬ tion among my compatriots was that, right own ears or not, and no other violoncello It is the ambition o( THE ETUDE to make this Violin Department "A Violinist's Etude” complete in itself lish, French, German and at the start, I “played by note,” thanks player has ever heard me play. Unique, largely to the posthumous influence of ' isn’t it, this thing of working along for Italian composers of the pe¬ good old Septimus Winner 1 And the more thirty-six years on a violoncello absolutely riod from 1600 to 1725. There notes one plays, the more one can find to alone, with no other player at hand with are seventy-five compositions, play. £ whom to exchange ideas? One of my real intrinsically melodic in char¬ The Reach Beyond the Grasp fears is that some time I shall have a big acter, all written within this display to make on a musical program and Thirty'Six Years of Uioloncello Solitude OST FIDDLERS I have known, period of one hundred and when put on a program, select shall find at the last moment that a real, twenty-five years. An unusual “something easy” for the occasion. But, sure-enough, bona fide and established art¬ c.By C. A. Bedgood almost invariably, when called upon to per¬ ist is down in the audience watching me 1 feature, not to be found in any form, I have selected something so difficult Will the discovery paralyze me? other collection of this char¬ desperation I worked some pasteboard up FF AND ON for thirty-six years can hardly be convinced that what I hear therewith) named Arthur Broadley. Trust¬ acter, is a series of more than O ing that it would never make me look like close to the inside surface and poured some I have been wrestling with violon¬ that way is really “so.” thirty likenesses of the mas¬ Broadley, I began to read hungrily and to liquid glue into the crack, the crude appli¬ cello problems. I have played often Now that my hair is as white as the try to apply what he had to say. And if, cation performed a miracle by drawing the ters who have written for the in amateur orchestras, bad and good, and hair-of my bow, one of my life’s regrets ‘Bad Habits in Bowing after these many years, he has not made gap almost together as it hardened, making violin, including Corelli, Pug- have played, as an entertainer, many solos is that I did not have a teacher to show the job permanent! I can not heartily and obbligatos. Albeit, in getting thus far a virtuoso of me, it is not because I have By T. D. Williams nani, Leclair, Tartini and me the how of things, to show me what not tried to cooperate with him. recommend this process, as glue has never on the road to virtuosity, I have violated to play and how to buy my music, to show since worked like that for me. Vivaldi. These are taken from many traffic rules of technic. me how to reach the peak without going The Violoncellist’s Goal of Beauty The provider of this fiddle neglected to VIOLINIST cannot always follow which, of course, must be made at the authentic sources, and pre¬ In the first place, I never tried to sound A all around the mountain. Even though I include an end-pin, which at first did not that which appears on the printed player’s discretion. a note on any instrument until I was twenty MORE YEARS passed. Then one sented in connection with a paragraph of biographical or critical be rated a wonderful performer by friends bother me much, as I knew nothing about note sheet; because, if the composer years old—too old, they tell us. I began day I found an Etude which carried The greatest barrier to success, in what¬ comment placed in the violin part before each composition. The (as occasionally happens), I am bound to a picture of Hans Kindler and a lot of end-pins. However, sensing the need of has not happened to be a violinist, his nota¬ on an old, broken-down “bass fiddle.” (The ever occupation one wishes to engage, is nature of the compositions selected for this volume make it quite believe that a good teacher would have that great fiddler’s remarks about tone- something, I whittled out a nice walnut tions might be misleading. It is important, unquestionably “unproductive energy.” It natives in my Ozark Mountain environ¬ brought me to this condition within five production. Of course I gobbled every word. stick, upon which I propped my very first therefore, to know the “fundamental prin¬ spells disaster to any enterprise and renders as interesting for the violinist as a book of pieces by modern com¬ ments did not know the word “violon¬ years or less, and I would have had all And not only that—I filed those remarks public solo—the Intermezzo from “Caval- ciples” of good bowing, keeping in mind, of helpless any individual who allows it. A posers. The volume contains 256 pages—96 pages violin and 160 cello”.) I had no teacher at all until one these other years for the achievement of a and that picture within the covers of leria Rusticana,” bless you 1—and later, course, that a well equipped player can, railroad that made a business of hauling day our village drug-and-sundry dealer told greatness which now will never be mine. pages piano accompaniment bound separately. The violin notes are “Chats to Cello Students,” where I could many other feeble efforts at big things. when he chooses, make accented notes with loaded cars only in one direction would me that I needed a different sort of bow And yet- extra large in size. Both parts are encased in an attractive three- continue to read them. Furthermore, I got One time I discovered, a moment before either an up or down stroke. soon expire. The same end is in store for from the “meat-saw” style which I had color cover. acquired with my old fiddle. The druggist a new inspiration from Hans. Oh, to make the sawing for a particularly shining occa¬ A good method for the violinist to follow the violinist who expends too much of his Tone "Woven Magic ordered a real violoncello bow for me, while as good a picture as Hans Kindler, when sion was to begin, that I had forgotten to is to arrange his bowing so that he will play energy manipulating his bow for down bring along my end-pin. The moments of along with it got me one of those little old DESPITE all this regret, I am com¬ I am playing my fiddle! with a down bow the first note in the first strokes that are not required by the context. COMPOSER INDEX brown-backed Septimus Winner instruction forted over and over by memories of You all realize, surely, that many beau¬ ensuing agony were exactly as many as full measure. Those notes (commonly called tiful things go into the making of a virtu¬ it takes to play Schmidt’s Cavatina without “starting notes”) which precede this “first Being able to lift one’s bow dexterously books, for twenty-five cents; and pretty the countless “little journeys to the homes from the strings for the purpose of repeat¬ Abaco .Presto Guillemain .Tambourin soon I had the natives “by the ears,” so to of the great,” in which my beloved fiddle oso and that such a violoncellist, who is any previous practice at playing with a full measure” will, necessarily, be bowed ing strokes may be an asset. But it should Alberti . .Allegro Handel .Bourree has played the role of the magic carpet. especially comely in appearance, is indeed big violoncello clamped between the knees. according to the number of bows these speak. never be accomplished for the sole purpose Albinoni. .-.Largo “ Largo There is no doubt in the world, that I one of the “noblest works of God.” But Talk about “suspense” 1 notes require altogether. If the sum of of playing with a down stroke. Is there get much out of life that is unheard and not even my best friends seem to applaud About this time I met a man who was their bowings is an odd number, the piece “ Sarabande Where Fingerboards Are Uncharted any logical reason why there should be a unseen by persons around me. Such cul¬ my progress toward such nobility! like thousands of others have been: he should begin with an up stroke; if an even Leclair .Sarabande Territory perceptible difference in tone quality, or ture as I 1 have acquired I have been There should be never a dull moment had bought a good violoncello and then number, with a down stroke. Babell . “ Tambourin volume, between an up stroke and a down DO NOT think for a minute that I brought in contact with by means of this in life for the violoncello student. The abandoned it when he began to realize that Should there be an odd number of bows Bach, J. C. .. Locatelli.Adagio would advise any violoncello student stroke other than incompetency in the same magic carpet—for a great deal of its work and the play, and the many other mastering it meant work. When I saw in the “melodic figure” of which this “first Bach, J. S. .. “ Allegretto to try getting along without a teacher, if interests to which the study leads, all seem that his instrument had a beautiful metal player? If there is, then have mercy on magic has been manifested in suggestions full measure” is a part, it will then be neces¬ Loeillet.Largo one is to be had. But in my case one to me to provide an inexhaustible source end-pin, ebony pegs, and fingerboard to our scales where half of the notes are made of beautiful things entirely disconnected sary to reverse the bowing for the next “ wasn’t—one never has been. I have never from the violoncello itself. of interest and happiness. For instance, match, I precipitately entered into contract “melodic figure,” continuing in this man¬ with up bows! “ Allegro met anyone who could tell me offhand the I note that persons often ask whether only recently I added to my rarely varied to pay him seventeen dollars at the rate ner until the end of that particular strain. The “bad habit” feature of this kind of Lotti.Aria “Pur dicesti.’’ names of the strings on a violoncello. Per¬ the study of one instrument will interefere musical library a very difficult transcription of one dollar down and one dollar per. This, under ordinary circumstances, is pref¬ bowing comes in when a player, by reason Bach, P. E. .. Lully .Canaries haps the really distinctive thing in my with work on another. It has always been of Liszt’s Liebestraum and found out right That was about the greatest investment of erable to lifting one’s bow and bringing of continually using down strokes for nearly Espressivo .Courante experience is the fact that during these my belief that the study of different instru¬ away that the arranger called for a high E it back (empty) in order to make the first every accented note, loses that rare faculty Bach, W. F. .. Martini .Gavotte thirty-six years of devotion to the instru¬ ments simultaneously is very desirable. which I did not know even existed—and note in each measure (or melodic figure) to accent properly with an up stroke, and .Allegro Nardini .Adagio Cantabile ment I have never even seen a perform¬ which sure enough did not exist on my Jus’ Fiddlin’ Around While I was beginning the violoncello I a down stroke. becomes helpless when such a stroke is ab¬ Benda . ..-.Minuet Pergolese .Sicilians ance by another player except a boy or learned to play the mandolin fairly well instrument. This set me to worrying in HAD been fiddlin’ and foolin’ around I There are many exceptions to this rule. solutely required. Biber . Pugnani .Largo man far less advanced than myself; and and the guitar a little, and I began to sing a constructive way. Remembering a fin¬ for ten years, before I had opportunity Bonporti. it has been twenty years since I last saw in church choirs. If the difficulties differ¬ gerboard chart which came with one of to play in an orchestra. And, as many an¬ .Lamento Purcell .Cebell any kind of performance on the violoncello, entiating such instruments as mandolin and my old-time instruction books, I cut it out other fiddler knows without being told, I Boyce . .Country Dance “ Suite other than my own. violoncello became confusing, there were and proved by it—granting its correctness was immediately overwhelmed by an Burney . .Pastorale Rameau .T ambourin Probably no one ever has been called Helps for Young Violinists pronounced compensations; for often, when —that my fingerboard was evidently long avalanche of noise which set me to slashing Campra ..Passepied upon to imagine a violoncellist in the heart Rebel .The Bells very tired of one form of musical en¬ enough, but that something else must be away somewhat at random with my bow. By J. W. Evans Corbett. .-.Sarabande Rossi .Andantino of the United States and yet so isolated deavor, I have taken up another instru¬ wrong. Then by a bit of experimenting I did not know at first that most of the Sammartini .Allegro Vivace from musicians of his kind for thirty-six ment and renewed my activities as “fresh with the bridge I at last got that E back other instrumentalists were even worse Corelli . .Suite in F Major years. If interested, such a one would im¬ as a daisy.” And in my frequent yearnings upon the fingerboard, where I can use it have finished your practicing. This gets Scarlatti, A.Aria mediately ask, “Where have you been all than I was. However, there proved to be Couperin. for an accompanist I even gradually picked magnificently in that long chromatic jour¬ a lot of profit in that ensemble wrangling. IV IU11C yuui V1U11I1. JL-rfCd " your violin out of order and often breaks .Minuet this time, anyway?” The answer -'-'ould up some piano technic—sufficient to pro¬ ney down the A string in Liebestraum— the tuning to your teacher the first mont the strings when retuning. Eccles . .Adagio Scarlatti, D.Pastorale be that during this time I have made my Now, after all, who gets the most out of vide myself with thousands of other “little when I learn how! 2. Don’t shift the bridge. It has i 9. Don’t leave coils of string hanging .Courante home in eight or ten Mississippi Valley playing the violoncello, or out of any other “ .Tempo di Ballo journeys to homes of the great.” proper place, and the slightest movemei on the head of your violin. Cut them off towns, some of them being large towns, all participation in good music? : Would I have Francoeur ... Senaille.Allegro Vivace This isolation long since developed within The Miracle of Glue will make a difference in .the tone. and put them away in a box in your case. of them well equipped musically—except as derived more pleasure from making it a Gavinies. Somis .Gigue me a real voracity for everything written Y FIRST violoncello would not 10. Don’t put your violin in a damp to performers on the violoncello. M business? Certainly I wish I had qualified 3. When fitting a new string do n .Allegretto Stamitz .Rondo about the violoncello—and there is no stand up under much more gluing him the peg so hard that the bridge fal for big things professionally. But maybe, Geminiani .... .Allegro Tartini.Andante Cantabile danger of over-feeding on such limited for¬ and carpentering than it had endured be¬ if I had, music would have long since down. See that the bridge remains pe: 11. Make up your mind that not a single A Friend in Heed Giardini . .Minuet age. As a beginner I sawed away for ever fore it fell into my hands, so, not long become drudgery to me. I know people pendicular, and gently pull it back if day shall pass without some practice. Gluck . IS IT any wonder, then, that, after miss¬ so long with nothing more illuminating after Septimus Winner had shown me how who seem very much bored by music, if tilts, since, if it falls, it is apt to break. 12. Don’t put your violin on a chair. .Andante (Orfeo) Torelli.Prelude ing The Etude for a long time, I re¬ than the old Septimus Winner Primer as to run the scale in the first position, I they are not getting paid for making it. 4. Never put your violin away withoi It will not bear sitting on, nor does it im¬ ... Gavotte (Iphigenia) Veracini .Minuet an instructor. Then I began to get in cently grabbed a chance to read one and was presented by an admiring friend with What a free-lance I have been! Prac¬ hrst wiping the rosin from beneath tl prove by tumbles. When you have finished .Musette (Armida) “ Gavotte devoured, with an appetite sharpened by touch with music houses and somehow se¬ a fiddle outfit fresh from a famous mail¬ tically every time I have made music it ridge and loosening the hair of the bo\ your practice, always put your violin in its Gossec. Vivaldi . Adagio desire, what it had to say about violoncello cured a work by Dotzauer; but this I order house. This seemed like real prog¬ has meant pleasure to me. I did not begin A bow kept tightly screwed will soon b( Guillemain ... players? For I assure you that I often pretty nearly abandoned under the near .Largo “ Gigue ress, price twelve dollars; but it was not till I was a man, and I never had to take come useless. had remarked to my friends that apparently conviction that such things as it suggested very long before I began to learn that it orders as to when I should practice. I 5. Don’t let your D string remain c jazz and the saxophone had about sent the simply never could be done by anybody. makes a lot of difference whether the did entirely as I pleased about it, and 1 your violin until it turns brown or ge Price $2.50 at all music stores violoncello on the way of the melodeon I worried along for many years and then “ebony” of a fingerboard is solid or only Jr’ ™r then it will give harsh tones. and the square piano. Once in a great while one day came upon the first great often pleased not to practice for months. skin-deep. Also, I felt terribly put out o. Don’t let the neck of your violin han Published by I heard something of this instrument on revelation (through the reading of one of It may be that my starting so late in when a half-inch crack appeared on the town when you play. It looks slovenl a phonograph record; and of course the those rare Etudes), a copy of “Chats to life was an advantage overlooked by musi¬ shoulder of the instrument and extended and spoils your bowing. Hold it up. HARCOURT, BRACE & COMPANY good things now on the air include some Cello Students,” a book by a somber-eyed cal advisers. I seem to have had a little from the neck down to the sharp corner '• Don’t stamp on the floor to keep tim fine violoncello music. But somehow I Englishman (according to his picture sense as to what was good for me, that is 383 Madison Avc» York above the • “f” hole. However, when in not so often possessed by child beginners. • Don t loosen your strings when yc THE ETUDE the etude SEPTEMBER 1934 Page 555 Page 554 SEPTEMBER 1934

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Rheadquarters for Publications of ]ohnCChurch' co!m 1712 CHESTNUT STREET. PHILADELPHIA. PA. m THE ETUDE the etude SEPTEMBER 1931,. Page 559 Page 558 SEPTEMBER 193J, (Bridge Strength for Pianists NEW YORK SCIIOOLo/MUSIC and ARTS By Ada Pilker Famous teachers, such as Maurits Leef- Publisher s Monthly Litt ■Power in the bridge is esf nt)al to <;"' son, presume that the undeveloped hand is 310 West 92nd Street, New York City able it to perform its two-fold duty as sup¬ a large contributing factor in cases of nerv¬ Tel. Schuyler 4-4140 port and connection for the arms and A Bulletin of Interest for All Music Lovers —V-,- ous breakdowns among pianists. Observa¬ RALFE LEECH STERNER, Director fingers. As ease and tirelessness through long periods of activity are requisite to tion proves, at least, that the two conditions are often found together. That nervous¬ LOWEST RATES EVER OFFERED BY THIS pianistic success, exercises for bridge strengthening should be of a type to de ness might frequently be avoided through FAMOUS INSTITUTION BUT SAME velop the qualities of tirelessness and ease¬ proper development of the bridge of the fulness. When once acquired, these con¬ hand is not to be doubted. CELEBRATED FACULTY. ditions will also permeate the arm and the Weariness due to the unaccustomed posi¬ tion can be quickly alleviated through re¬ -BREAD, BUTTER, BEANS AND BEEF- The Cover for this Month Dormitories in School Building. Consciously raising the bridge is a great laxation exercises followed by a thorough What Anybody Can Do A particularly inter¬ • Markets save time, money, trouble. assistance in developing strength. lbe massage of the hand. After a short period Send for Catalogue, Biographies and Programs. of complete rest, practice may again be esting portrait of Jo¬ It would multiply the details of housekeeping many times Anybody who has the money to invest in practice period is the most favorable time the plates, paper and lithographing can pub¬ resumed. It is to be kept in mind that hannes Brahms ap¬ were it necessary to get bread direct from the baker, butter from Students’ Concert every Thursday evening for this work as the full attention can then pears on the front lish a new music composition. Unfortu¬ be given to it. A well arched bridge indi¬ strength must ever be combined with ease. the creamery, beans from the cannery and beef from the abbatoir. nately, there are many who, just as a matter No undue tension must appear. cover of this issue of cates strength, the depressed bridge, weak- The Etude Music Fortunate is the homemaker who has access to a fine, large, of pride in seeing their own names, or the The hand, after such bridge strengthen¬ Magazine. Brahms names of friends, on music compositions, comprehensive, inviting general market, where she may profit nJohannes Brahms in The Etude Musical Booklet Library series (Price, 10 order to make their series complete to the 24425 f the whole audience would be roaring it Though not a member of that order, his present issue, may obtain copies of the series Help us Protect You £ out with him. Every night he “stopped obsequies were observed at the rooms of 4099 Little”SMiss"PrideLL:inffel- 1 ‘2° Madame Clara Schumann played many of from any of the previous issues at a cost of Scarcely a week goes by that our atten¬ the show.” His journey from town to town the Elks Lodge of Mt. Vernon. Fulfilling 5 cents a sheet. tion is not called to the work of swindlers 4320 The Song of the katydid— 1 ‘2’J armonv & Composition his works and a warm and close friendship H (IKtfeixe F was a veritable triumph. It was his last his wish, the ceremonies were conducted by existed between the two. In fact, it is con¬ going about the country and posing as bona ,?230 Bob^oy'March-i^iio^;; \ If By Correspondence his friend, A1 G. Field. sidered that Brahms’ attendance at Madame fide Etude subscription agents. We want II08I Climbing Blossoms—Spauld- Musical Com^rOperirVoTaL Change of Address Mr. Emmett never affiliated with any A slight adaptation of lines from Dry- Schumann’s funeral subjected him to a chill to protect our subscribers in every possible I A Special Course for beginners, or way, but obviously, we cannot be responsible 30225 The Guitar Serenade—Gtay- for Music teachers. desiring tore- church; but he was, however, very devout. den will make a fitting close to these which hastened the ravages of cancer of the If at any time you change your address, nor . o an please advise us at least four weeks in ad¬ for these fraudulent practices. The bast we 30552 The Stars and Stripes FoV- Jd** ,i«*“ ad^nta1gelmPFo"aMtuSTc0lov«stwho He, himself said, “I never lay my head on simple annals: vance so that none of your copies of The can do is to warn you against signing any ever (Simplified)—Sousa- ^ seek a thorough understanding of my pillow at night until I have knelt by tSchaum. 2t6 KO [l*1 this subject. "Fate seemed to wind him up for four Etude will go astray. In notifying us, al¬ contract or receipt handed to you by a my bed and said my prayers.” And he subscription agent, without first reading it **92 Rippling Waters—Anthony. 2(A .35. DUNNING SYSTEM score years, ways give both old and new addresses, so 94U- v.f or! Dance—Srounoff 2% .30 i’«““ School of music always “said grace” at table. When his Music Teacher’s Business carefully. No agent of ours has any authority Valse Petite—Ketterer .... 2 V, 35 .of TEMPLE UNIVERSITY of Improved Music Study eyes began to fail, he procured a bible in Yet freshly ran he on nine winters that there will be no delay in making the to change terms, Above all, do not pay *2189 Peasant's Song—Marker ... 2 V> 25 Boosters 1812 Spring Garden St., Philadelphia Jean Werren Carridt. Dean large print, which he read, often in sum¬ change, and hence no danger of your missing cash unless you are convinced that the mail 59*9 Playful Rondo—Oree/ie_ 2 V“ .25 a single issue. 12916 The Soldier’s Song—Stein- Write or ’phone Pop. 0640 mer as he sat in the shade of his little Till, like a clock worn out with eating If we were sales experts and were talking or woman calling upon you is responsible. heimer .. o 25 “house by the side of the road.” From to music teachers in the jargon of sales ex¬ 3984 Balancelle (Swing Song)— perts, we might hold forth on “clinching the Wachs .. 3 „ 160 EAST 68th STREET, PORTLAND, OREGON here, in the early evening of June 28, 1904, 6765 Under the Double Eagle— Daniel Decatur Emmett passed peacefully sale. That is, when the music teacher has a prospective patron or the parent of a A FAVORITE e Publisher’s Monthly Letter . 22523 Twilight Hour—th ey ! j I!!'. | iff Diplomas, Certificates of Awards, Medals and prospective patron in the studio, something 7283 Processional March—Parker 4 go Other Requisites for Awarding Pupils .Alabama's Share in “Dixie” should invariably be placed in the hands of COMPOSER s of today hold his 4853 Grand Valse Caprice—Engel- CHOOL of MUSIC Completing Courses in Music that patron to take home for perusal, and 8167 Fraternal March—Lindsay. 4 "go THEODORE PRESSER CO. that something should “clinch the sale.” It 41**9 Falling Waters—Truax. 4% '.2B "of TEMPLE UNIVERSITY By Margaret Flor Thomas ‘421 Warbling* at Eve—Richards 5 .25 should provide the arguments for music 1*9§1 May-Night—Palmgren. fi 25 Herejs why , Alabama claims an extra chestrated it for his theater musicians. study that the teacher cannot very comfort¬ 7o57 Music Among the Pines— share in Dixie, the Song of the South. It thus came about that Dixie was given ably state in person. The teacher may now Arthur L. Brown Wyman.. . 6 .25 Daniel Decatur Emmett, of Mt. Vernon, its premiere as a band march through the secure at slight cost (ten cents each) the COMBS CONSERVATORY following booklets which are of great value SHEET MUSIC—PIANO ENSEMBLE Ohio, composer of the original Dixie’s pleasure and a vital force in their maturi ,*496 ( Begin—Willy (FourHands) 1 $0 25 PHILADELPHIA streets of Alabama’s capital city the day m convincing the parents of pupils of the lives. Many great men have appreciate, 12140 Garlands of Roses—Spduld. , Land, made a stop at Montgomery, Ala¬ Jefferson Davis was inaugurated President great value of music study. No sensible the foresight and generosity of thei: my (Four Hands) .... 2 or. bama, in the course of a vaudeville tour, of the Confederacy. The beautiful air was 13185 Sing, Little Birds !—Spauld- ng. Public School tied leade lgn°re t!ie °Piniotls of these prac- p6rtunities Tn hfyhood da; inO (Four Hands). 2 ' .25 shortly after composing his plantation song. greeted with wild enthusiasm by the popu¬ 1 Providen 17064 Taps—Engelmann (One He played the tune on his violin, and the lace; the soldiers “whooped” and whistled The Power of Music-M. Felicitas Rhode Island, ound_, 35 ye; _Piano, Bight Hands)..... 3 75 ago the Theodore Presser_er Co.( beg 24961 Hungary—Koelling (Two theater band master, Herman Arnold, was it; the army adopted it; and orders were bert J Tily°y Sh°Uld Study Music—Her- adding to its cats'catalog some of this co, Pianos, Pour Hands)- 4% .80 so taken with the appealing rhythm that given that all bands be taught it from that CONVERSE COLLEGE Mh‘toNT More Than Ever—Hon. Wm. SHEET MUSIC—VIOLIN & PIANO ATLANTA he jotted it down on the walls of the Old time on. In this way it started on a tide H. Woodin 5<01 Dance Rustique—■Borowski. 3 $0.60 SCHOOL OF MUSIC Montgomery Theater and afterwards or¬ of popularity which has never ebbed. added to the.Pn CONSERVATORY of MUSIC SPARTANBURG, SOUTH CAROLINA Adult Beginners in Music—C. Van Hulse difbnng forth! ’ N°h-douht PIANO SOLO COLLECTIONS GEORG LINDNER. Director __n "Endowe - ~__ “ ' nal School, Nationally Stories for Boys and Girls—Rowe $0.75 Courses i n PIANO, VOICE, VIOLIN, ORGAN, Accredited. Full B. 1L_s. Degree and Diploma luneful Tasks—Thompson ...... t-. PUBLIC SCHOOL MUSIC, NORMAL TRAIN¬ Courses. College Envir ent. Teachers of known Pittsburgh manufac Young Folks’ Piano Folio ...50 ING, DRAMATIC ART AND DANCING sts’ Concerts and 13he ‘Resources of Expression The Etude Historical Musical Boys of America would h< From the Southland—Burleigh. 1 00 Cat.alrg upon application erate Tuition Fees. to study music if they kney Sprightly Rhythms . ’ * '75 Peachtree and Broad Streets Atlanta, Ga. For Catalc (Continued from page 547) Portrait Series Standard Compositions {Grade1)— i Irvi g Hva dustrialists, doctors, lawye Mathews.. phrase; and this, in turn, results in contrast. Another form of contrast is in the tempo, rep0"!!?06 of this,,issue are 44 Plaits Spaulding Easy Album ....'..' .* .* .*; [75 Without contrast there is monotony, which Eu! H C® 0ne installment of The Compositions of Arthur L. Brown Etude Advertisements are Bulletins of Splendid Buying Opportunities represented by such words as acccleroim _ PIANO INSTRUCTOR is the most undesirable thing that can hap¬ Casual ST?RICAL Musical Portrait Series. PIANO SOLOS ritenuto and rubato. A third form of con¬ with! re-S mi&ht Vnss this page by Second Year at the Piano—Williams. . .$1.00 pen to a song, for it indicates a lack of trast is in tone color; that is, the using 0 reahzmgmgreat significant This Cat. No.’ Sj?E.ET MUSIC—VOCAL SOLOS ESTABLISHED 1857 musical intelligence. various shades of tone quality, from bright $0.35 16698 Ma Reinc. Mazurka.... 243i>6 Sheila—Kellogg . qa m >SL r,! the m°St collossal wider- 25523 Cradle Lullaby . .35 2278 Mazurka Caprice, Op. 5.... Look for a moment at this element of to somber, as the mood demands. fore hl!th bterature of music. Never be- 26099 Dance of the Castanets.. .40 22929 An Old Fashioned Melody... I22J2 { Oim-Umu-Zw-'ea.' jeo contrast, remembering that all contrasts .50 2237 Petite. Valse Romantique_ 2 I Love Life (Low)— Mana-Zucca. .60 The intelligent employment of these re¬ traits anrl ,atta“1Pt.ed to present por- 3129 Dance of the Elves. Op. 30016 On the Road to Mandalay—Upeaks PFARfilW CONSERVATORY must be made with the voice. The one 3145 Dance of the Nile Maiden .30 25525 Processional March .:. I LflUUU I BALTIMORE, MD. sources of expression will add also the ele¬ of all cel , t uim,)na,i” biographical sketches 3138 Egyptian Parade . .30 3144 Quiet Moment . most used, perhaps, is that made in the ments of proportion and unity. Altogetlier a wd !lgcnerationgedrated past. music folk, both of this 25472 Gavotte con Moto. .40 3807 Simplette. Valse Lyrique... 30959 nST an<‘ !hdit'(i.ow)—llawley iso OTTO ORTMANN, Director 3811 Ilyacinthe. Valse Melod .35 23742 Spirit of Happiness. qon. - w-Cn .° (Uori )—.Vana-Zueca. ... .60 power of the tone. For this we use such they constitute what to many is that elusive, JY111, ° the Wisp (High)—Npross .60 One of the Oldest and Most Noted Music Schools in America. isufof Tr!Vtarted ”} tto February 1932 .35 > 2498 Thine Forever Waltzes. terms as crescendo, diminuendo and sfor- intangible thing called style; and style15 23938 Tripping Through the Meado 1*149 Fo«d lor Gossip. The Loyalty of • 311 the is!ETrn>E' !ose who do not have Op. & Men (Iwo Recitations)—Jones .40 the fortune of the artist. 6 lssnes from that date to this, in 15 Valse 1 (Continued on page 563) THE ETUDE THE etude SEPTEMBER im Page 561 offer No. Ij. Offer No. 20 -j-iOR YEARS Music Lovers have benefited by j^WNOF spring PROGRESSING ORCHESTRA Three-Part Cantata EASY QUARTETS FOR Jr Presser’s Profit-Sacrificing Method of Introducing YOUNG VIOLINISTS COLLECTION New Music Books. In these Fall Bargains are Final by Rob Roy Peery (Each Part, 35c; Piano, 65c) Introductory Offers of recent! (Price, Each Part. 40c) (Piano Accompaniment, 75c) . 1 to 30). (of Each Part, 25 c, Postpaid i (of 32 to 43) are on f

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1712 CHESTNUT ST., PHILADELPHIA, PA. THE ETUDE THE ETUDE SEPTEMBER 1934 Page 563 Page 562 SEPTEMBER 1934. Offer No. 40 Advance of Publication THE CATHEDRAL CHOIR i Books Reviewed Join the Etude VYCusic Study Expansion League □_3 Offers— and Secure ^3hese ^Practice Pledges A ___ 7<[o £xpense of Any Kind HLSStlS OPPORTUNITY FOR THE ACTIVE MUSIC WORKER TO ACQUIRE EXCELLENT f*U MMAINS AND HELPFUL NEW WORKS iffiiil AT MONEY-SAVING PRICES SfHS

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Offer No. 39 Offer No. 3 5 AMONG THE BIRDS PHILOMELIAN THREE-PART CHORUS COLLECTION n Cash Price, 35c, Postpaid Cash Price, 3 0c, Postpaid XREODORE PresserC0 BS3 m 1 S $ laSsSssti"” ”.’“I!SS ££ Ssssdu CHDRCH MOSIC COLLECTI ^ ^ THE ETUDE 0E ETUDE SEPTEMBER 1934 Page 565 Page 564 SEPTEMBER 1934 World of Music technic Fun (Continued from page 505) By Genevieve Harmer Dart NADIA BOULANGER, who ranks among THE MUNICIPAL ORCHESTRA „f Utrecht, Holland, has received, bv vote oi his mark or pretend to clear the wall or the^best of contemporary French theonsts and Each separate tone may be thought of as the city, a subsidy of fifty-two thousand m| a pearl bead, an especially rich, flawless ditch. When practicing skips apart from den (about twenty-one thousand dollars) for other work, as we do all difficult passages, pearl. Then the entire scale passage be¬ SSS, in appreciation of h„ smcBto the coming year. comes a strand of all-perfect bead tones. let us try to imagine an obstacle race and These bead tones must not be strung on a see that our fingers are in their position DR. CARL BUSCH received on May 2nd knotty, bumpy thread. So we endeavor to accurately on the keys. A„bSd. France. Mile B.£.»ger hja the Certificate of Award, conferred by the lead them with our elbow, in a smooth In rhythmic motion the triplet swing is bean the teacher of many of the best of o faculty of the University of Missouri, “ja wristless course. Each round bead tone especially pretty. This rhythm is suggestive younger American composers. recognition of distinguished service to music” must be carefully attached to our string of the prancing of horses. If we listen ■3-8. passage. No artificial tones of shallowness carefully to our accents, in the groups of PRETORIA, TRANSVAAL, will have the A RICHARD STRAUSS FESTIVAL are included, however. They all must be threes, we can hear the clicking of the first organ built in Chicago to be msta led m WEEK was observed from June 11th to 11th South Africa. It is a four-manual Kimball round and flawless. horses’ hoofs on the pavement. at the State Opera of Dresden. The worfa In the forms of scales which are played concert organ, to be inaugurated before the A fascinating way for little children to presented were “Der Rosenkavalier” (twice) with both hands a military parade may be coming Christmas. practice the two rhythm is by using the “Die Frau ohne Schatten” (twice), “Ariadne pictured. In the simple scale the soldiers _ —.. ——»• auf Naxos,” “Salome,” and “Arabella.” The old familiar saying, thus, ascending two are marching in twos. Each couple , must JOSIAH K. LILLY, famous collector of composer led the performances of “Die Fran march as one man with never a move of octaves: Fosteriana and creator of Foster Hall ot In¬ ohne Schatten.” Rich'(C)man(D) poor'fE)man(F) beg'- any kind out of order. The rhythmic mo¬ dianapolis, Indiana, is having electrical tran¬ ger(G)man(A) thief (B,C) doc(D)tor tion is always perfect, each step accurate scriptions made of his wonderful treasure of (E) /awr'(F)yer(G) me/(A) chant (B) original Foster manuscripts and will deposit HERMANN ABENDROTH, for many The radios in the Music Shop had never and as one attack of tone. This seems easy. years the conductor of the Giirzenich ■Con¬ fiords And *5rain Whistles “And how old are drums ?” politely asked VYCental Arithmetic and chief ( C). these in ten ofoi rnethe leadingleauuig museums of felt at ease. They did not seem to belong a radio. So much boasting was not pleas¬ But in our practice in unison, as well as the America for perpetual preservation and study. certs of Cologne and director of the Cologne By Stella Whitson-Holmes to the gay company around them. When thirds, sixths or tenths, we notice that the In descending the sale, we shall begin the High School of Music, has become regular ant to listen to, but one has to be polite IMusic at night, after the doors were locked and right hand likes to get ahead, and we can¬ saying with rich'man on the first C coming THE DRUM CORPS DIGEST, gay in its conductor of the Gewandhaus Orchestra of One day Robert told his teacher what all was still out on the street, the instru¬ W^‘w 'S-j j „TT. . Do you ever do mental arithmetic in not seem to get clearly one pretty tone or down, and slurring thief on the middle D-C. regimentals of Volume I, Number I, comes Leipzig, an organization which became pre¬ he most wanted to do when he grew up; When a pupil plays the “four” rhythm to our desk. Welcome, thrice welcome; and ments talked about the good times they iBn.Xw Va* • ,e drum’ HlStTa/f say school? And did you ever stop to think harmony. eminent under the leadership of Mendelssohn. he wanted to drive a locomotive and blow that the first instrument was probably in- just why you have to do it? of course> as he should use the positive statement, “I a hearty good wish for the long life and ser¬ had known, of the masters who had per¬ Octave work is suggestive of the rank of the whistle. vented when a savage accidentally struck far as getting the cotTect answer is con¬ can do it,” over and over again. vice of this well edited and chic newcomer. “Very well, Robert,” said Miss Jones. formed on them and written great works four soldiers in drill. We should get the ■s-si- COMPETITIONS cerned, a pencil and paper is much surer The rhythmic scale practice of five, “But, in the meantime, let’s learn to make for them, the poor radios could say nothing. effect of only one C sounding or one D, in¬ MAX FRIEDLANDER, widely known in and sometimes much quicker. Why, then, which should be used more than it is be¬ THE YOUNG ARTISTS CONTEST of the train whistle chords on the piano. You They were not old enough to have any stead of four. It must be as the rank of the Europe of the 1880’s as an interpreter of the MacDowell Club of New York City will must you do mental arithmetic ? cause it is so popular in modern music and know there is music in whistles, too.” great history. No masterpieces had been four in one perfect line. This plan is a the songs of Schubert and Schumann, and an be held in October. Young pianists, violinists It is because it helps to develop your con¬ is especially common in the Spanish type, Robert was becoming interested. “Now, written for them. So they listened in good one, also, for double thirds and double intimate friend of Brahms, died on May 2nd, and other instrumentalists, string ensembles centration and your abstract thought and should be repeated with the phrase, “This put your right thumb on G; then take every silence while the pianos told of Wagner and sixths. in Berlin. and vocalists will compete for sponsored ap¬ makes you focus your attention on abstract is so much fun,” to aid in the accent rhythm .3- »• other white key, up to F, G, B, D, F. Play Beethoven and the violins boasted of An obstacle race is another excellent THE FRENCH INSTITUTE of Barcelona, pearances in New York. Applications must things. This develops your mind and your of each group of five. be filed by September 15th; and further in¬ Paganini and Kreisler. comparison. In such a race one is sup¬ Spain, has lately completed a series of con¬ them altogether, with a staccato stroke, memory. Practicing is so pleasant when the technic formation may be had from the MacDowell “You know, my dear,” said the baby posed not only to make time but also to ferences devoted to modern French composers. like this.” In music, you can get results on the key¬ jump over high obstacles or leap over wide is “all dressed up” that these simple sug¬ Club, 166 East 73rd Street, New York City. grand piano one night to a cabinet radio M. Carol-Berard, secretary general of the Ex.l board, but sometimes doing scales and places. One should not just barely make gestions should prove attractive. standing near by, “we are very glad to Composers Union inaugurated the enterprise things mentally has the same advantage for in the presence of the French Minister to have you here with us, but you are not as THE PADEREWSKI PRIZE of one thou¬ developing your music as mental arithmetic Spain and leading personalities in the musical old as we are and do not have the illus¬ sand dollars, for an orchestral composition has for developing your mind. world. worthy of a place on a symphonic program, trious family connections. Why, we pianos Select a scale and say the letters slowly •3-1>- is again open for competition. Composes, “That,” continued Miss Jones, is called have been in use for several centuries. A PRIMITIVE DRUM and distinctly, as D, E, F sharp, and so THE ROYAL OPERA of Rome closed its to be eligible, must be American-born citizens the dominant seventh chords. You see, “Humph!” said a violin, “We violins forth, at the same time striking the proper season with a performance of “Carmen” on or have been born to American parents tem¬ chords have names, just like people. Now, have been important in music since the April thirtieth. porarily abroad. Works must be received not move your thumb to G sharp and play early part of the sixteenth century, though a hollow tree thousands of years ago. He on aa imaginary keyboard. Do not later than October 1, 1934, by Miss Elizabeth once more in the same manner.” j instruments similar to us were known for liked the sound and made it often. So we touc" anything when you do this, not even CARL FLESCH, the noted violinist, is C. Allen, 294 Huntington Avenue, Boston, SHE TOOK IIP THE XYLOPHONE season the pupil with the best scrap book Robert did, and heard this: many hundreds of years before that.” can say the tree was the first drum. Even your laP> but keeP y°ur hand suspended in AT SEVENTY may receive a prize. I find It stimulates the said to have been appointed a professor at Massachusetts, who will give further in¬ today the natives of Africa pound on hollow tbe. a‘r- Try this with all your scales, student's interest in reading musical maga¬ the Conservatory of Amsterdam. formation. To The Etude : . zines, such as The Etude, and in watching Ex. 2 trees to make their music. Of course, they maTor and minor, hands alone and together, Why you take me for a Mr I do not know. the papers and magazines for pictures and Anyway 1 am an up-to-date lady bachelor. I items of musical subjects. Besides, it gives do not look the way we do, but they are and you be surprised at the results, wish I could convey to you in adequate words them much information and pleasure. THE ACADEMY OF ST. CECELIA ol A SCHUBERT MEMORIAL OPERA drums just the same.” when you PlaY your scales on the keyboard. the surprise and pleasure of your sympathetic —Dorothy Tudou Jenks. ROME, one of the oldest and most exclusive’ PRIZE, providing for a debut in a major Just then a flute who was lying in his Violinists may do this also with their left musical organizations of all the world, has seetethe stacks of°ETCUES, many of them open BIG THINGS IN A SMALL TOWN role in a Metropolitan Opera Company pci- AN EARLY EGYPTIAN HARP case in the window and looking thought- hands’ Putting their fingers on imaginary elected the following new members: Italian— formance, is announced for young America To The Etude : “We can call these the train-whistle fully out on the dark street spoke up. stnn£s- t0 Ateseventy<'lS'decided to take up the xylo¬ I am enclosing a program* of a junior and Victor De Sabata, Bonaventura Somma, Gino singers. The contest will be held in conjunc¬ phone and the marimba and at that tune your chords,” said Miss Jones. But of course “Ho, ho!” jeered the trumpet. “Since “Don’t you think,” it said, “we are foolish senior recital given by my pupils recently. Marinuzzi, Riccardo Pick-Mangiagalli, Cesare tion with the Biennial of the National Fed¬ that is not their real name.” l^mtleewo?ffl ihUe’music written For children of a very small town I feel they Dobici; and of foreigners—Wilhelm Furt- eration of Music Clubs in 193S, at Philadel¬ the sixteenth century, indeed! Do you to talk so much about our ages ? We flutes to Util did remarkably well. "Can you show me some more?” asked What ‘Betty Bractices Instruments, 1 took out of these Etudes the My work from Easter to September first in¬ wangler, Serge Prokofieff and Henri Pru- phia and conditions of entrance will be an¬ know how old trumpets are ?” are very old, too, almost as old as drums, pieces that especially appealed to me and Robert eagerly. So Miss Jones showed arranged them for the marimba, for four cluded teaching thirty-three private pupils, nounced later. No one answered. but I was thinking it isn’t our ages that leading a church choir and carrying on per¬ him how to “invert” his chord, like this: sonal piano work with an out-of-town orches- “Of course not,” it tooted in triumph. count. It is how we can make people happy chords “Neither does any one else, because we are with our beautiful music. None of us can H This week my boys’ orchestra plays at the Ex. 3 V the Wist) Green Cathedral, Cradle Sony, high school. Last week I conducted a chorus so old it isn’t known when and where we be heard very far when we play alone; we 0 Viennese Retrain, The RoMns, Felice, Jasmine of forty voices for a Sunday School county Ind Niyhtinyales, Niyhtingale’s Sony. Every meeting. My choir sang in Frederick, Kansas, ‘Ghe Ualue of Similes were first made. Pictures of us were found can be heard only a little farther when we chords norning at six-thirty 1 play these instruments. last Monday night and will sing in Bushton, in the ruins of ancient Egypt and Assyria. play together. Our beautiful inspiring , also have appreciated The Etudes for my Kansas, next Sunday afternoon. I find my¬ H moils, such a help in many ways—for young By Jane Knowlton There is. a story of our being used in strains reach so few,people. But here, our DC ind old alike. I am sending you two snap- self getting more real pleasure out of teaching ihots of my studio, which 1 had built under here in my old home town than I did in a Who can play some similar chords, Sparta, Greece, during a terrible earth¬ newest friend, the radio, can send our 0 S C A nighty eucalyptus trees. It is built in the Conservatory in Kansas City. quake four hundred years before the birth music all around the world, into all homes, CHORDS [> It occurred to me that a report like this The value of similes in piano teaching starting on other notes? Their name, of Shape of a cross—shingled inside as well as from a music teacher “out In the sticks” single direct blow or the nail can be struck of Christ. The trumpets called the people the poorest as well as the richest. Because ^ DC E lutside, natural color ; and the seats are green cannot be over-estimated. They will stick course, is really diminished seventh chords. md the curtains a wonderful blue, and through might show what can be done, with a lot of so crookedly that it has to be taken out hard work, in a town that has a total popu¬ m the pupil’s mind all through life when to gather outside the city so that they would of it we can make everybody happy. And _ t* A r C c lation of six hundred and fifty thousand, and again. It is necessary to use only one bio* I suggest that we give the radio an honored J* *> C A L E S ■erraced'orchardl’a cactus garden, and5 so forth. mere statement of facts without some not be killed or injured. I expect we are It is lighted by colored electric lights, in full three other music teachers to provide health¬ to drive that nail in, but it has to be a place in our company of instruments, even ft D ful competition. accompanying picture will generally leave the oldest instrument known,” the trumpet daze during evening recitals. . —Mas. Vernon B. Holt, clean one. How do I make a clean blow-' Letter Box if it is so much younger than we.” J) jg May I tell you how much I enjoyed the kindly the child unimpressed. It is for the most ended proudly. sympathy so spontaneously given to one of First I know exactly where I am going to •Mrs. Holt’s program includes’, as^piano part a waste of effort and extremely boring “Boom, boom!” exclaimed the bass drum “Rah, rah, rah,” shouted all the instru- o S' A r c« c numbers : Two Larks, by Leschetizky ; Etude hit. Then, concentrating on the head of to ments. “Three cheers for the radio!” « v fl L fc o -J. NOTEXAOLE. to the pupil, especially the young pupil, to from where it stood by the piano. “Such Op. 10, No. 0, ,of Chopin ; Papillon by Grieg; nail, I strike it just as neatly and surely and, as vocal numbers : Old Refrain, Kreisler ; try to drive home some technical point by boasting! None of you are nearly as old And no more did the radios feel that they PICTURES MUSIC STUDY The Gypsy Trail, Galloway. Care Seine, Han¬ as I know how. My arm is free and loose did not belong to the old and illustrious r del : Thunk God for n Garden. Del Rlego, and mere reiteration. as we drums. Nor have you been used in To The Etude : l>«t "ad1“to ts°ayy0mv ye"™W/fw company of instruments. (jrdme OJ (jOmpOSCTS I have found that it adds Road to Mandalay, by Oley Speaks. Say a pupil has the habit of running her but my hand is firm. I am sure in ») as many different countries, either.” SOUTH AFRICAN ORGAN RECITAL notes together due to lack of muscular mind of making a direct hit.” those Deoni; L5!tr?y* 1 should like to By Gladys M. Stein To The Etude : control and indefiniteness, both mental and If the pupil has never driven nails ft® rect address. te t0 me again w-ith the For twenty years I have read The Etude, a board it would be a good idea to h# Cut out pictures of composers and paste o under the heading of exercises fifth* ** PkyS her technical her httl* S h ,Jame "?anner, they profit her go to the trouble of doing so, if P0?S1* sa Ghe String Quartet them on small squares of cardboard. Make it—as “G,” guitar, or "V,” her little or nothing. For such a one the Then she will realize the significance« this land of heat and*1 rice lcarn sometMn violin. Pictc is of composers are filed under From your friend, two less squares than there are players. their last na I enclose the the simile in relation to the keyboard By Anna B. Royce or epigrams ' musical jokes are also’ saved, order6! T the follo™ng picture in Mrsl j. r. Singh, The players join hands and move in a circle id or third lesson throughout order to illustrate what is meant by clean Cleanness and directness of attack w Phiilbagh, I---’- to - >' pupil either Samoodiar P. 0. Viola joins in converse next, around the chief, or leader, who holds all ■ ess of tone and’ directness of attack. thereafter mean something to her. ■>«' A First and Second Violin, thing in the Alniora Dist.. A clear, bright comment lends it; the squares. lesson—Mozart’s birthplace if he ...... _ „ hammering nails into a board I will never forget the simile, and sooner« Viola, and a Cello, Suddenly he throws the squares in all a Mozart sonata or perhaps a picture of the drive a nail through the board with a „ U’ P- 11 Discuss the classic minuet Then, Cello takes the subject up minuet as danced in George Washington's 1. Weiner-Klagen-Sorgen. later results will be apparent. £take in prinS'V^.^Ply regrets directions, crying “Composer.” The players court when he is mastering the Beethoven 2. Fantasie and Fugue In tones refined and mellow. And, with brief parlance, ends it. Minuet in G major—or else an article on “ad Nos, ad Salutarem undam.” G*7rSi^ break the circle and rush after the squares. some technical point that is bothering him. 3. Evocation a la Chapelle Sixtine Now, Second Fiddle starts the theme Such perfect manners have these friends! The one who fails to secure one drops out These pictures and articles can be used as (n) Miserere (Allegri) Each acts the pal and brother; a reward for a good lesson and scrap books b) Ave verum corpus (Mozart). hiifh write a!,S°uld he elad to have ' Of pleasant conversation; of the game. The squares are returned to started by each pupil. At the end of the 4. Prelude and Fugue on B.A.C.H. And neither will speak out of turn, the leader who throws out one less each happiness™-,LuthS^Burbank ^ sotlrces °f life’ strenTh ““sic in her interop tel1 ” n It The First then quickly takes it up rice “nd tempi”! ttog country of heat With gentle animation. Nor hurry one another. time, until only one is left for the winner. THE ETVm Page 566 SEPTEMBER 1934 JUNIOR ETUDE—(c°",inued| Vital ‘Decision Junior Etude Contest How cRuby Got the (Rhythm right hand corner of the paper, and must a teacher Must Make for Each Tiano ^Beginner By Florence L. Curtiss The Junior Etude will award three pretty prizes each month for the best and neatest be received at the Junior Etude Office, 1712 original essays or stories and answers to Chestnut Street, Philadelphia, Pennsyl¬ Ruby did not like to practice, for she Miss Boyd played an exercise Ruby had vania, before the fifteenth of September, -THE SUITABLE INSTRUCTION BOOK- never got good rhythm. been struggling with, and then a piece, ^subject for the essay or story this The names of the prize winners and their -‘‘Play slowly and count aloud," advised while Ruby had a lovely time walking, month is “A Musical Experience. It must contributions will be published in the De¬ her teacher. Ruby did this, but even so, stepping or running around and around contain not over one hundred and fifty cember issue. her rhythm did not have any spring in it the studio, listening carefully to do the words. Any boy or girl under the age of Do not use typewriters and do net have and she never felt it herself. So how could A Classified List right thing for each kind of note. Some¬ fifteen years, whether a subscriber or not, any one copy your work for you. /r Scientist knowing only one prin- she improve? times Ruby would just take her book and Music Play for Every Day may enter the contest. Competitors who do not comply with lA ciple, a Lawyer knowing only of Dependable First Instruc¬ “Here is an interesting way to help you step off the notes without any piano ac¬ All contributions must bear the name to get good rhythm, Ruby,” her teacher all of the above conditions will not be con¬ one law, a Doctor knowing only one (THE GATEWAY TO PIANO PLAYING) companiment. and age of the sender in the upper left- tion Books for Piano said one day, when she found that playing sidered. drug, or a Chemist knowing only one The Irresistible “I think it is fun to learn rhythm this J^IGHT from the start this book shows slowly and counting aloud did not bring substance, could not accomplish any¬ First Piano Book way,” she said. for Beginners S the desired results. “Quarter notes are thing in his profession. For Little Beginners 6 Years of walking notes. Take a step on each quar¬ “Well, Ruby, you see you are not learn¬ to S Years of Age. frontispiece there is, in full colors, the ter, and I shall play something for you. ing rhythm, exactly, as you already under¬ fanciful and popular picture, “The Fairy¬ Age or Under Successful Music Teachers stand When you hear a half note, take a step stood it. You are learning to FEEL it land of Music,” and in an appealing Music Play for Every Day (Uses both and dip your knee a little, as half notes through bodily movement. And if we Am I a Good Pupil? Qj ready to achieve the best results manner the book continues right with FEEL rhythm we do not have any trouble Am I a Good ‘Pupil? the child, delighting the juvenile imag¬ are standing notes. Whole notes are stop¬ (Prize Winner) with pupils in having a knowledge of Playtime Bool by Mildred Adair (Uses ping notes, and on them take a step and expressing it on our keyboard.” (Prize Winner) more than one book for beginners. ination with illustrations, game-like pro¬ both clefs from start. Illustrated) I can not be a perfect pupil but I can Melody Pictui es, Vol. 1 by Margaret R. dip your knee three times. Eighth notes Did YOU ever try this method? If A good pupil is one who has great in¬ cedures and charming little melodies. Martin ... try to be a good pupil. To be a good pupil There also are cut-out pictures and other are running notes.” not, try it. terest in the piano and practices a certain qOresser’s “On Sale” plan with its Bilbro’s Kind. rgarten Book' by Mathiide amount of time regularly. I am very much I must take great interest in my lessons, interesting features which aid in making llill.ro .... ■*liberal examination privileges makes Middle C and interested in the piano and all other musi¬ try to understand and grasp the technic this strongly individual book the super¬ by Lidie A' cal instruments, for I hope to have an or¬ of music, practice diligently and always it possible for teachers, at their conven¬ lative first instructor for juveniles. clefs from , try to climb higher and make more prog¬ ly Tots by John M. W chestra of my own when I am older. I do ience in their own studios, to become Price, Complete—$1.25 i clefs from start 1.. not practice a great deal for I am inter¬ ress in my playing and singing. I stall acquainted with the merits and individ¬ Also Published in Four Books for Con¬ Book by N. Louise do these things so that in time I shall be L clefs from start)... ested in sports. I practice at night, but in ual features of various first instruction venience in Class Use—Price, 40c Each. >r the Piano for Littl able to bring forth into the music world small amounts, for I always listen to good books. orchestras on the radio. the masterpieces of the great musicians in Dear Junior Etude: Dear Junior Etude: For these reasons I do not consider my¬ a harmonious way. Our club colors are blue and white, ; Bohfert Nolan Kerr. (Es- M. Williams—In Four Books. (Very Co- Our teacher is very happy when we play Carol YanLanen (Age 9), Minnesota for claas use with satisfactory for group instruction IisG1Do^thrtele0?’ lS V^STT*** Leah Binder (Age ID, New >

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